María Espeus: “The best photo is the one I'm going to take tomorrow”

After spending 40 years observing the city through her lens, few voices can better testify to the great transformation that Barcelona has undergone during these decades. María Espeus (Boras, Sweden, 1949) has been the official photographer for the Opening and Closing ceremonies of the Barcelona '92 Olympics and the Expo '92 in Seville. Her extensive resume includes hundreds of works for agencies such as Bassat Ogilvy & Mather or McCann-Erikson and for various public and private institutions. She is the author of the photo reports that decorate the U-232 Hotels, Granvía, and Hotel 1898. That's why we wanted to interview her and learn about her perspective on Barcelona then and now.

Maria, how did you educate yourself?

I first attended a Fine Arts school, but I quickly realized that I couldn't stand being there for five years. So I quit and started looking for a job as a photography assistant. For three years, I worked during the day and studied the techniques at night.

You are Swedish and after five years in Paris, you settled in Barcelona since 1977. What charmed you about our city?

Coming from the grey and rainy Parisian winters, coming to Barcelona in February and seeing Las Ramblas was... wonderful! I told myself: I'm staying here

Better than in Paris?

Yes. Watch out! What I experienced in Paris can't be taken away from me. It was after the student revolution of 1968, and I learned so much... But the thing is, here every day was a celebration.

What remains of that Barcelona?

There's not much left, honestly, and I hope it doesn't end up like Venice. I never go to the Gothic Quarter anymore. I've been alone in Park Güell, with a coffee and a book. Today it's impossible. But it's not a phenomenon unique to Barcelona, but rather all of Europe because now there are more facilities for traveling.

How did you make your way in that Barcelona being a woman and a foreigner? Wasn't it difficult for you?

On the contrary, being a foreigner worked out great for me. I didn't say I was Swedish because then everyone expected me to fit the stereotype. Sometimes I said I was Norwegian (laughs). No, seriously. Back then there were many publishing houses and there was always work. Moreover, in the advertising world, there weren't many female photographers.

How did you get the assignment for Barcelona '92?

Through the COOB. I was commissioned to create artistic portraits of the opening and closing ceremonies of the Olympic Games.

You who experienced the before, during, and after of that Olympic event, did you ever imagine the great transformation that was looming over the city?

No. I knew things were going to change after the '92 Olympics, because until then people in the United States couldn't even place Barcelona on the map. But the truth is, I didn't expect it to change so much.

Now that the 25th anniversary is being celebrated, how are you experiencing it? Do you feel nostalgic?

No. I've already lived through that. I'm not nostalgic at all: I left my country, went through Paris... Occasionally I do look at photos from that time, but in general, I don't like looking back too much. I try to always look forward.

Have you ever thought about publishing a book about that time?

For the moment, no. But it will come.

The report that adorns the Hotel U232 displays some icons of old Barcelona such as Tibidabo or Las Golondrinas. What do you aim to convey with these corners of the city?

When I arrived in Barcelona I didn't have a job, so I spent my time wandering around. These corners, and some others that no longer exist, caught my attention. But I wasn't looking for them. I simply wandered and found them. I liked them. But I wasn't searching for them.

If you had to do a report on Barcelona today, which city would it capture?

I would go to the historic neighborhoods: Sant Andreu, Sant Martí, El Clot, etc. There are fabulous spots. Tourism hasn't reached there yet, and you can still feel the small-town atmosphere. You can still see the legacy of Pasqual Maragall as mayor. I think he has been a very important figure for the city because of all he achieved. This legacy is more tangible in those neighborhoods.

What things continue to inspire you in Barcelona?

It's a very comfortable city. Yesterday I went swimming in the sea and two months ago I was skiing. Everything is close by.

Let's talk about the trip to the Philippines to do the report that today adorns the Hotel 1898. Did you go there with a layout in mind?

Yes. The initial project was for about 30 photographs, but I couldn't imagine what I found in Manila: violence, poverty... I could imagine it in other countries, but not in the Philippines. In the end, we ended up with about 120 images displayed throughout the hotel.

Did you go there without a roadmap?

10 years ago, the internet was not like it is now, you couldn't get informed and prepare as much. For example, when I arrived at Vigan (a UNESCO World Heritage Site) the city was devastated. But it is in situations like this that your creativity is sparked.

Many people ask us if the report is old, from 50 years ago. Did you try to capture that essence? Why these photos?

The assignment was to showcase the Philippines, the tobacco, etc. Let's remember that this hotel used to be the offices of the Philippine Tobacco Company, hence the idea for the report. But once there, I learned about the history of Hotel 1898 and why it was named that way. So I decided to look for Spanish remnants that were still there.

That feeling of antiquity is already perceived upon entering the Hotel Granvía, with that collection of photos that seem from another era

We created this look intentionally. I love the 40s and we wanted to give it that touch.

Why in Black and White?

I like it more than the color. With color, you already have everything done. If you have a black and white photograph, you can always imagine the color.

Did you have plans to tour the part of the islands?

No, no. Once I get there, I start to gather information about where I could find rice plantations and we made decisions on the fly. Although it's not something I like because I'm a photographer who plans a lot, a great deal. There I was always a bit uneasy because I didn't know what I was going to encounter each day. For example, I like to take photos at dawn, before the sun rises, but the driver often overslept so we didn't arrive on time.

How does a photographer earn trust when taking a portrait?

I am not a capturer of images. If I have to make a portrait, I like to chat with them, find out if they would like it, ask for their permission, etc. You have to earn them. I don't like to tell someone to stand here or do this. In fact, I have already informed myself about the tastes and hobbies of that person to be able to deal with them, and I can spend a couple of hours talking with this person. In this way, I study and analyze what I want to capture from them.

The number of detail photos decorating the hotel is surprising. Is everything photogenic?

Yes, without any doubt. Absolutely everything. And absolutely everyone. Although I don't believe that a picture is worth a thousand words. I, with a photo, can deceive you by choosing the light, the angle.

Cartier Bresson spoke of the 'decisive moment': that precise instant when a scene becomes immortal

Yes, but I am precisely the opposite. Before photographing a street, I have walked down it at least 10 times to see the light, the people, the atmosphere.

Can that decisive moment be learned to be intuited?

Yes, one can educate, cultivate the eye... Although I believe one must be born with that sensitivity.

Precisely that intuition and naturalness disappear with the portrait. How do you make a situation that is not at all natural seem natural? Is it the most difficult aspect of photography?

I believe so, although it is also one of the most interesting aspects. The portrait is almost a landscape.

Photography is in vogue thanks to Social Networks. What have you learned and what would you like to convey to the younger generation?

I can't give advice to anyone. My generation was very lucky. Everything was yet to be done and thanks to that I have been able to make a name for myself in this city, but young people starting out now have it very difficult.

How are you getting along with the Instagram filters?

It's a new era. Sometimes I see interesting things. But everything moves very fast. Sometimes too much.

Of all the jobs you have done, which one did you like the most?

Almost everyone. Whether it's a big or small assignment. I have a great time taking pictures. As I said, I'm not very nostalgic and I don't have a favorite photo or job. I always say that the best photo is the one I'm going to take tomorrow.

Do you think a photographer ever retires?

At least I don't. If they take my camera away from me, I'd die.. Besides making a living from it, I love taking pictures. It's my life.

Is there something you would have never thought of photographing?

I never thought I would take pictures of nature, flowers... I wasn't interested at all. But since the trip to the Philippines, I started to like it.

For over 10 years you have collaborated with the Núñez i Navarro Group. What would you highlight from that experience?

It was a very close collaboration with Rosa Roselló, the decorator. We worked very well together. Within two minutes of meeting, we had already connected.

What are you currently working on? What is your next project?

I'm preparing an exhibition at Vila-Casas. I'm still not sure about the theme. I'm starting to create characters that have impressed me in some way. I'm currently in the creative process and in the end, it may lean towards one side or the other.

If you're a photolover and you're passionate about Barcelona, discover here our talks with photographers like Carles Roig or Toni Mateu.

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