20 Jul 2020
When I started to earn my living with my first photographic assignments, more than 25 years ago, I had two clear “vices”, music and photographic catalogues. At that time I had not yet set up my first studio and therefore was not yet aware of the meaning of “living to pay”. My only investments were records and books, and I wasn’t really planning to do much more either. I was happy with so little or… so much, depending on how you look at it. In fact, when I recall in my mind some passages from my previous youth, I can still clearly relive that almost orgasmic feeling of tearing off the plastic wrapping and discovering the interior design of a CD by Mike Oldfield or Wim Mertens, or the photographs in a catalogue by Duane Michals, Jan Saudek or Helmut Newton. Usually this scene used to take place on a train, back home, after liquidating much of my income in music shops and bookstores in the capital, and I think my ecstasy was more than evident because when I looked around it was not uncommon to come across someone watching me as if I was the same Gollum engrossed in his “treasure”.