I first took lessons of photography at the age of 13 at Foto Club Tucumán, in the other side of the Congreso Street, where the Historic House is located. My father lent me his Rolleiflex for my lessons.

When I grew up I worked in a different kind of job, but in the end I returned to photography and I made of it my profession. I first worked at the University and then as photographer for archeological campaigns for the CONICET. Time went by and got interested in photography conservation and I did some research on its history. Today I teach and I work in advertising although I continue being close to the science.

As a mean of expression, I always shot my work in black and white. I'm still doing this. However, part of my work is done using old and digital processes.

It is not my intention to establish a discussion between old and actual processes in photography because doing so would overestimate one of these processes over the other in the pursuit of a mean of expression or a particular and personal aesthetic.

Working in this art it has made me know a wide range of ways for capturing an image and then making the final copy.

I make daguerreotypes as digital photos and a variety of copy's processes. I work comfortably in each of these processes.

I believe that the technique is liberating. The expressiveness can be found in the combination of the technique and the creativeness; that is why going deeper into the technique frees me and makes possible every take, knowing beforehand the possibilities that each material, each artifact, each process offers me.

I'm the president of a Foundation that works for the conservation and achieve of old photos. This was the beginning of my interest in old techniques. I became more interested in this kind of job and the knowledge of old processes helped me in my conservation job. A trip to France made me learn more about old processes, their techniques, possibilities and times.

It is exciting to have the control in the whole obtaining process of the image. The care during the take, from the negative -or positive in a daguerreotype- must be extreme. The lightning, the frame, the pose, are going to be reflected in the final image.

There is a great speed in the work when actual processes -negative, positive, analogical or digital- are involved. But with old processes -gum bichromate, kalitype, or daguerreotype- the time of execution is quite long. A daguerreotype takes many hours of preparation and it is expensive too. For example, the gum bichromate is a process that can take many days, even weeks, to get its final image. The reader will understand that we are talking about different conceptions of time when we speak of old and modern processes.

I compare this with driving a car or riding a horse: different speeds, different pleasures, and different sensations. Have you ever thought to drive a car in road and at the same you look at the landscape? What would be the result?