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<\/a>Anabell Lopez Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n
So, I fell in Cuba with three years and speaking only German. I grew up, became a photographer, studied a degree in History and started working in the world of cinema; first in the Cined, and then in the Icaic.<\/p>\n
<\/a>Arturo Sandoval. Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n
Although I am born in France, I am not French, I am Argentine because of the nationality of my parents, but during the military dictatorship in Argentina, I was denied citizenship for not presenting myself to the mandatory service, so until democracy did not arrive in Argentina, I was able to travel because I didn't have a passport. I did not want to become a Cuban for fear that they would not let me leave the country, which at that time was the biggest nightmare for any young person in Cuba.<\/p>\n
<\/a>Xiomara Laugart and Fito P\u00e1ez. Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n
I studied photography in a self-taught way, but close to great masters such as Mayito (Mario Garc\u00eda Joya) and Marucha (Mar\u00eda Eugenia Haya Gim\u00e9nez). She was the one who introduced me to the world of disc cover design, in the Egrem, together with Adita Santamar\u00eda.<\/p>\n
<\/a>Fito Paez Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n
At that time I was the couple of Abigail Garc\u00eda Fayat, also a photographer, one of Mayito's daughters, and with her, I made our first LP cover, (Vida<\/i>, from Santiago Feli\u00fa). Following this work we made friends with Santiago, who introduced us to the world of the new trova, on the other hand, I knew Noel Nicola as a child. He was the one who asked me to make the cover of his disk Lejan\u00edas<\/i>, perhaps my most successful design, despite the 30 years that have passed.<\/p>\n Gerardo Alfonso, Carlos Varela, Santiago Feli\u00fa and Frank Delgado. Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n At that time when I was studying at the University, Egrem was my livelihood with the design of records. I was a year and a half to do a thesis that was a torture for me. The world of music and plastic arts was an incredible boil; The 80s in Cuba and my 20s were a beautiful scheme to create.<\/p>\n Carlos Varela Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n My first camera was a Zenit inherited from my mother, who was also a photographer. If I remember correctly, with that I took out my Palo Cagao series. Then my father Angel sent me a Nikon from Argentina; It would be 1982. I was with her in Vi\u00f1ales with the Hexagon Team, and when I fell into the networks of the Mayito-Marucha clan, I necessarily had to go to Canon, since that way we could all exchange lenses and knowledge. I loved the Canon until a few years ago I switched to Sony. For the disc covers I used a 6 \u00d7 6, Zenza Bronica, which I bought from someone who had stolen it from their workplace; I think it came out at 120 pesos.<\/p>\n Gonzalo Rubalcaba. Photo: Sebasti\u00e1n Elizondo.<\/p><\/div>\n In the year 87 I went on vacation to Buenos Aires and ended up staying. It was not intentional, but the circumstances caused it. There I lived 13 years, 4 more in Miami, eight more in Madrid and 6 in Miami back, which is where I now live with my family. During all these years I continued taking photographs, but I never approached the world of music as in Cuba.<\/p>\n<\/a><\/a><\/a>