“Spaniards, Franco is dead,” announced the 20 of November of 1975, the president of the Government Carlos Arias Navarro, opening up the tumultuous political time known as the Transition and, shortly after, the period of democracy has been defined as the longest and most fruitful of peaceful coexistence and freedoms in the history of Spain. And they were there to tell the tale photojournalists Marisa Flórez and Raúl Cancio, who have taken this evocative phrase of Arias Navarro to the holder, starting in two, the books in which they review his career. The Song is called Spanish… and Florez, Franco has died.

The director of EL PAÍS, Soledad Gallego-Diaz, who lived next to the two authors, many of those complicated moments as a companion of this journal, founded in 1976, has been Tuesday on a charge of presenting in Madrid, the two works —or the labor party in two—, edited by Libros.com by crowd-funding. “They are two of the best journalists I have known in my life”, because they are “journalists who write stories with photos,” said Gallego-Díaz. “I don’t think that the Transition can be understood without the pictures of Marisa and Raul,” he added.

view the photo gallery of Felipe González, the PSOE leader, light up a cigarette to Adolfo Suárez, president of the Government, in an image taken during a meeting between the two in the palace of the Moncloa, The June 27, 1977. MARISA FLÓREZ

Marisa Flórez (Leon, 1948) and Raúl Cancio (Madrid, 1943) share many things, almost everything: they are married, they are photojournalists, with a huge career behind her, developed mostly in THE COUNTRY (it started in 1976; he, in 1980), where the two ministered for many years as editors in chief, both of which have won awards and two are still teaching at the School of Journalism of Mobilbahis UAM/EL PAÍS, of the that Song is, in addition, founder.

however, the work of each one of them has a seal of its own that has turned in the work. So, the book of Flórez —they wanted to highlight during the presentation that “journalism is done as a team”— reflects his intense work as a chronicler policy of those years of uncertainty, but also of illusion, images of Dolores Ibárruri, Pasionaria and Rafael Alberti coming down the stairs of the Congress of Deputies or the one who portrayed the president Adolfo Suárez, in the worst moment of his mandate. While, the Song runs through the story’s social, cultural and sporting history of Spain that captured with your camera, with the form of the legendary football goalkeeper José Ángel Iribar, or the eccentric genius Salvador Dalí.

In the form of books has also wanted to show these two personalities, professionals, more risky, more crazy, in the case of Cancio (in his book have been added to negatives and contact sheets), and thought, in the Flórez, as explained by Rodrigo Sánchez, one of those responsible for the collection Pantone, Libros.com, under which a work has been published. Next to it, presented the work of the director of the collection, July, King, and Antonio Rubio, coordinator of collections of the publisher.

view photo gallery One of the photos most well-known of Raúl Cancio is that of José Angel Iríbar, goalkeeper of the Athletic, in 1967, published in the newspaper ‘People’. RAÚL CANCIO

What did share the two works presented is the same spirit of attempting to tell a story only with pictures naked, without support from the text whatsoever, except for a central section independent text format peridístico signed by, among others, Gallego-Diaz or the journalist of The World Rebeca Yanke. “Just had to talk about the images,” explained King. “The worst thing in the world is talk a lot of a photograph. Let her talk alone”, I insist Cancio. Is.