My connection with photography began in the late 70s, in my student days, linked to my passion for traveling, trying to collect in images those places I was visiting. It was the age of analogic photography, with its limitations, shooting slides, and blind results until a few weeks after returning.
With the arrival of the digital era there was a great change. Being able to see the results at the moment and then adjusting the final photography at home, it was a revolution, similar to the entry of the Internet into the world of traveling. Without a doubt, the experience starts at home, visualizing beforehand the moments and places to visit with the help of planning tools and photography portals.
As a result, many of my photographies are urban landscape, looking for those moments of light that occur in the sunsets and dawns, when the warm tones of the artificial lights contrast with the blue sky. It is surprising to discover the calm of the first hour in those places usually so crowded, to photograph them in calm and loneliness while the day is coming slowly, until the lights go out, everything is recovering its noise and it is time to return home.
I like the slow and tripod photography, look for the reflections of the lights in water and the softness of the long exposures, repeat the capture several times, trying to optimize the framing.
My vision is of wide angular, trying to collect in an image everything I feel in the places I visit. For this reason, I also practice panoramic photography a lot. Also, I like the interior photography and low-angle shooting, that upward vision that we often ignore and that with the dramaticness of the extreme angle lenses, produces such striking results.
Since I learned techniques of mixing photographs with different exposure times, in order to capture the entire dynamic range of the scene and this way control lights and shadows, many of my photographies are the result of them. When I return home, I slowly "mount" the photograph from those different exposures, in sometimes laborious development, even more so if it is about panoramas with different photographs sewn together. I imagine  it must be a process similar to the old dark room, which I never got to practice, where little by little the final photograph that you imagined appears. I try that my processing won't be excessive, without these stand out on the image in himself, and that they show the feeling that you only see what that was there, without unnecessary additions.
Some time ago, I read a comment from someone who said that every time he looked at the photographies of a certain person it was as if a window had opened in his screen, from which he could see all the places he had been.  It was a definition that fascinated me, and that I would like to pursue with my works.
Thank you very much for your time in looking through my windows.