His name is Rey López, but some call him the Hunter of Time because with his lens he captures moments of people, facts, and events, unique and unrepeatable.
Las Tunas, Cuba.- With his colleagues, he is a talkative, witty, and witty man. But when you put a camera or a microphone in front of him no one can get a word out of him because interviews are for artists, he says.
As a photojournalist for newspaper 26, when he is not covering, he is always on the lookout for a face, a detail, or a gesture for social networks. His natural scenarios are the municipalities of the province of Las Tunas, and especially its capital, where he moves around with his camera in hand to capture the life of the city and its people, and the characters of their stories, and he creates the action with the shutter.
Rey López has lost count of the number of times he has won the Ricardo Varela Rojas Provincial Journalism Award for the Graphic Work of the Year, for the unquestionable quality of his images, in his daily work. But he does not think he is the center of the world because of that and, on the contrary, he is always ready to help anyone who asks him for advice about cameras, a concept of photography.
In his early youth, he went to study architecture but dropped out in his second year because he was in love, as he confesses. Later he became a computer scientist, sign maker, graphic designer and webmaster, founder of 26 Digital, and at the University he finally graduated in Accounting and Finance.
But photography and graphic journalism have been the best of his dreams.
And now he has just created an exhibition on rural women that has left the public open-mouthed, because his lens, once again, captures the decisive moment in the style of Henri Cartier-Bresson, the famous French photographer considered by many the father of photojournalism, who characterizes the precise moment when the subject of the photograph is at its most significant and expressive instant.
That is why the Hunter of Time, with his camera in hand, is today a paradigmatic photojournalist of Las Tunas, the one who in any place, in any street, gives no respite to the subjects or objects that cross his path, to capture them in his lens and his path testify an instant of the century of the image, always with the teaching of Cartier-Bresson himself that the true portrait does not emphasize the refined or the grotesque, but tries to reflect the personality.
