Miguel Ángel’s first camera was an old Hasselblad that he inherited from his father. Perhaps this is why he repeats this format so much over the course of the book.  As if without even realising it.

In these pages, you will find both commi-ssioned works and personal experiments. Selected indiscriminately. Linked to one another only by the care with which they were taken. As if there were no difference between a commission and art.

This is a man capable of showing up at the laboratory with negatives cut into strips and taped together. As if “photographer” meant “craftsman.” And “image,” “experiment.”