Spanish photographer, painter and black-and-white film lover Lluc Queralt tries for the first time our B&W Berlin Kino film. Read his experience with the film and get to know him through this interview.
Hi Lluc! Can you make a brief introduction to our readers?
I was born in 1978 in Tarragona, a city on the shores of the Mediterranean. I am a painter and photographer.
Please tell us about your photography background. What’s your story? When did u start taking photos?
My first experience with photography is when I was viewing those family albums that my grandparents had in the storage room. It was cool to ramble through the past times. I started taking photographs at the age of 13 but I simply did it to document the lives of my friends. The skaters provided me wings to travel and to be able to look for more. Since the 90's I've been shooting in color, using slides; with this system, you have to be very precise. I had a manual camera, a Canon AE1 that my mother gave me at the age of 17.
You shoot exclusively in Black and White. Why this choice?
I have always had colors in mind: through the viewer, I look in color but I capture the images in B/W. Film photography has something magical that can teleport you back to the past, returning to my grandparents' trunk, where everything began. I like to create timeless photographs that the viewer cannot date. There is a whole range of possibilities when you take photographs today while thinking about yesterday or decades ago.
In an undeniably digital age, why do choose to shoot film?
In the digital age, it makes more sense to shoot analogue photographs since it makes them more unique.
On your website we found a beautiful description of your works by Esperança Cobo, here's just a small excerpt: “Lluc, your eye is an accurate diaphragm, it is a predator of instants always crouching in search of the coveted piece. (...) You have drunk from the beginnings of the history of photography. You are not an ‘emerging artist’ who needs to jump on the fragile bandwagon of the latest trend, dig into the original and revisit known spaces to end up in mere exercises of style. You are a classic anchored in postmodernity.” How do you find yourself in this description? Where do you draw inspiration from for your photography works?
I totally relate to that description made by Espe: I am not trying to do something new, but to see new things and improve as a photographer. Photographic works come from the sum of our references but photography always mutates towards your future.
The photographs we find on your website have been taken all over the world: how has the pandemic affected your work?
Coincidentally, the day that the whole issue of the pandemic began, I was with Guillem Trius, a great photographer in Angola, doing a reportage on the largest baobab on earth. We were able to leave Africa and afterward, I went to Mallora Algaida, where I have lived a fragment of my life. There is where I began to discover the natural world in photography.
These amazing photos were taken with a Berlin Kino film. How was your experience with it? What characteristics do you like the most?
I tried my first Berlin Kino film aiming at understanding the sensations that could give me: I was surprised by the warmth and cinematographic sensation it provides. I shot it in my city, Tarragona.
What photo equipment do you take with you on your travels?
I usually carry a voigtländer R3 or the Leica M 7.
Do you have any interesting projects planned in the near future?
I am currently about to go to Russia to document the ballets in Saint Petersburg, together with the great photographer Evdokiya Witwickiya. If it all goes well, the tutus will be part of a project that I am carrying out on nostalgia for the East. Later on, I will have a project in Japan about Mount Fuji, all shot in film.