Photobook cover.

Seeking Magazine: ‘Found Photos in Detroit’ belongs a sort of photobooks which has appeared in the last years, based on the edition “fotos halladas”, or compiled of a personal folder or external folder. When did you start to work in this project?

Cesura Publish: We Started this project in 2009. We made two different trip in Detroit, the first one was August 2009 and the second was January or February 2010, for 6 weeks-span of work. We where searching for a stare at the real economic crisis in USA. Our first goal was to make a photo-report project about the city. But then we started finding scattered photographs around the city, inside broken houses, near dismissed facilities or police stations. Right away we figured we had it: those forgotten pictures were the ultimate image of the crisis and desperation around us.

SM: Behind the book is the economic crisis and how it affected Detroit. There are other books about the decadence and derelicts of the city, but your book goes further than the ruins and the transformation of the urban landscape. How far does ‘Found Photos in Detroit’ takes us into the history of the city and its people?

CP: As soon as we indulged looking though this lost pictures, we were stroked – fallen in love so to speak; we thought we could have done a better job working on this material, actually produced by the people themselves that lived through the fall of the city, instead of us taking pictures of the aftermath of the crisis.

SM: For the publish of this book you have counted with a huge graphic material that you found in the city of Detroit, this is the case of letters, family albums, polaroids, police files and so on. How was the process of getting this objects? and how did you realize that you get enough material to perform a photobook?

CP: Once we found the first sparse pictures, and got persuaded by the direction of our project, we started a methodical search for lost photos around the city. By six weeks we had gathered about 1500 items. Back in our home studio we went directly to the editing process to assemble an exposition, and from there the project has brought us to this publishing.

SM: In my opinion, the design and concept of this book is made with judgment. It is a publication like a photo album or even a journal which you may think is a story told from photos of somebody. How did you work in the production and design phase of this book?

CP: Our aim was to consider the found material as an archive, and work on it as such – both the exhibition and book were prepared on the base of this concept. The point for us was to establish this collection as a legit archive, and that explains the keeping of the photos’ original size; but at the same time we wanted to properly express the feeling of desperation of the city, so – mostly toward the end of the book – we enlarged the size of some images to help conveying his feeling. The book has different levels of meaning to be read through, but the fundamental premise to any of those meanings is that we, as authors, didn’t take any of those pictures, everyone of them was collected directly from the streets. That’s why the cover is so restrained, and neither of our names or others information are printed.

SM: The book really transmits a sense of loss and despair which is almost suffocating. How much can the book be a portrait of the American society itself, the racial conflicts or even the problems of capitalism?

CP: It is difficult for us authors to step in the discussion of social issues of today’s American society, nor is our intention to express any judgement. Vince Leo, art writer and contributor of the Little brown Mushroom magazine, wrote this in his review: “In the process, they have also created a powerful document of contemporary Detroit that moves beyond the bailout and the romanticized urban ruins of good times past to address the human tragedy that are the results of inequality, racism, and political impotence. That said, there’s no walking away from the fact that these images and their subjects tell another story. As so often in the past, these African-Americans have been reconstructed into a narrative not of their own making, revealing their utter representational powerlessness, no matter the intentions of the current powers that be. That is the agonizing contradiction at the heart of Found Photos in Detroit: that the source of its power as a social critique is made possible only by appropriating the despair of the abandoned.”

SM: Since the book is mainly focused on portraits of Afro-Americans in groups or individually which give us a sense of identity and community. Can we say that the Afro-American culture is the key narrative of the book?

CP: The project doesn’t pretend to tell the History of the City of Detroit and its Inhabitants, in no way. As the title says, this work is a collection of found photographs, and the 90% of these happened to portrait Afro-American individuals. Eventually, it was a consequence more than a choice.

SM: Many of the photographs are damaged and even diluted by scratches and various stains, perhaps there is a certain parallelism between the destiny of the photos and the people in them. Can we understand that as an allegory of the pass of time and vanishing of reality?

CP: The broken state of the pictures is easily mirroring the late history of Detroit, for sure. But more than the evident comparison between the conditions of the photos and the city’s, it was relevant to us the restoring and reinstating of the memory contained by such images, which got lost altogether with the pictures. The condition of these photographs is mostly telling because of the obliteration of the memories, stories and feelings they used to contain.

SM: From the beginning of the book there is a repetition in the layout of photographs, first some faded Polaroids that are beyond recognition, then photographs in which we can see the people to finalize with faded photographs again Did you wanted to reflect by the means of photography the processes of the memories, remembrance and forgetfulness?

CP: Our intent is not about suggesting a one-way interpretation of a story – on the contrary, we support an open reading of the work. The editing of sequences, as the one you referred to, is intended to reach for the reader’s experience, in order to find personal, inner meaning – not guided by any interpretation from our part. In relation with the condition of photographs, sequencing is an instrument of help to preserve the fragile state of these images-objects, and more so to preserve the memory they contain.

SM: You have made an edition of 1,000 copies. How is it being the response of the people?

CP: Found Photos in Detroit is a self-pulish book. The intention to preserve full autonomy over the project led us to not follow the route of publishing houses, but independently manage the production and distribution of this book.
Definitely a hard, demanding work for both of us, but the book is gaining positive reviews and generated a good deal of interest. We are satisfied and happy with the results so far.

Interview by Andrés Medina.

Translation by Marco Antonio.


©Photobook and photographs by Arianna Arcara & Luca Santese.



We’ve been talking for a long time about the development of his project Camping, about how the primary idea was growing into something more complex, with its ramifications and variations. From this discussions came out the possibily of making an interview showing the progress of his work, the challenge of facing a weighty project, with its breaks and intense moments. The following interview was made up of notes, exchanging ideas and viewing his pictures.

Seeking Magazine: Why do you take pictures?

Marco Antonio: Well! It’s a complicated question. I think I’ve been asking myself about this for a long time, but it’s something like this: at first, you do it because you have a ravenous appetite for taking pictures of everything, you are sensitive to all that surrounds you, everything stimulates you, here and there… everything. You are happy. You just want to capture what you like, what attracts you, with no worries. Your brain generates pleasure. Little by little all of this disappears. You’ve already captured the rainbow, you’ve taken a picture of yourself in front of a mirror and many other things … little by little you start making yourself questions.


Then, you start to control that energy, you don’t take so many pictures. Your pleasure is no longer the same, it goes changing and you start taking small challenges, and you like that. You discover that all this subject, so democratized and accessible to people, is more interesting than you ever thought. It goes beyond the fact of taking pictures and storing them. It is a language and you are interested in all its codes: books, lectures, etc… I begin to grow with this. I’m like a sponge and I realize I’m learning to channel.

I take photographs because of all these questions and challenges that I find day by day.

SM: What has this Project, Camping, meant to you? When did you decide
that you would focus all your energies on it?

MA: This is the first project I do and I don’t have any other references to compare with, so I’ll speak on a personal level. 

It has meant: growing, meeting wonderful people who helped me with this all. Reflect on things I wouldn’t reflect on before I got involved in this project. Thinking in Camping has helped me to observe people, look at people who I’ve been meeting with for a long time, and who I never paid much attention to. Reflecting on territory, interaction with it and interaction among people and territory, and above all, asking myself: why? And what for?


I am very passionate and extreme, so I’m focusing all my attention to move forward on this project. It’s true that this can wear you out easily, and I took a lot of time to realize that a project can’t be done overnight, so I’m also learning to ration out.

SM: When considering to photograph life in a campsite, did you take on account other references as a starting point?

MA: American photographers like Joel Sternfeld, Stephen Shore, Alec Soth are references. But, as I started to know new photographers and new visions, Camping got more and more enriched.

SM: How is your working process before taking the picture? What I call “no camera work”.


MA: I’ll tell you how I do now because the way I work has go changing.

I find very difficult the subject I’m working on. At first, there are lots of stimulus. There are many things and ideas are not clear. You know there’s something that attracts you a lot, but you don’t know what it is.

I’ve been organizing them in a mental map in which all the people, things and places that are between this project and me appear. Everything that surrounds me is full of questions and possible answers.

SM: In which way the place has influence on you when taking the pictures?



MA: I know these places from my childhood and they are full of memories. Many of the pictures I take, I’ve seen them in the pictures my parents, my friends and people who go to campsites took before. Other pictures remind me the way we escape from the city, going to a place where this city we’re running from is still patent. The passage of time is also evident and has its influence on these places.

SM: In which way people you photograph have influence in the project?

MA: I know many of the people I photograph, but not everyone. Those in the pictures and those who are not, have influenced in everything. They have brought up issues such as: territory, escaping from the city, life on weekends and many concepts that I have been assimilating.

SM: How important are the people closest to you in the development of the project?


MA: I have tried to involve all people who are close to me. Any point of view is valid to develop ideas.

SM: Delving into your photographs, I realized that there are small groups of pictures organized in different subjects. Why?


MA: It was (and still is, as the process goes on), a way to embrace and put in order several subjects. The genesis of this movement, the pressure, the passing of time and the interior shots that could speak about the characters.

SM: Have you been marked by some of these pictures? Or I’d rather ask, which photographs must be on the project due to their importance?



MA: Yes, some of the pictures have been starting points for me. 

It was hard to find a reason for the picture of the girls plucking their eyebrows. I knew there was something on it, but I coudn’ t see it clearly. I took that picture, and later on, while I was editing and with some help, I realized that it represents the interaction between people. And from there, I thought out the idea. 

The house in the air, the man crouched down on a piece of artificial lawn, the small photographic series… I have leaned on several pillars. 

As I said, this work is in progress, so there’s a lot to do.

SM: Do you take notes about the development of the project?



MA: Yes, I started doing it a bit late because I thought it wasn’t necessary, but it has helped me a lot.

I wrote first in one of those cool notebooks and now I do it on a large sheet of paper. It has helped me in some way to put my ideas in order.

Interview by Andrés Medina.

Translation by Violeta Morelli.


©Photographs by Marco Antonio.

SHS Publishing, publishing house with offices in Barcelona and Berlin combined with the Cultural Association Strativari, organizers of the original edition, will present an exhibition of 120 books selected by the commissioner Emilio Macchia (Jan van Eyck Academie – Maastricht).
Created in Ravenna (IT), its name comes from its origin: +39 is the international dialing code for Italy. Fahrenheit 39 is showcased for the first time in Barcelona. The selection contains small editions and unique pieces, mapping the current state and future direction of Italian publishing design.

In addition, SHS Publishing will feature several titles of its clever catalogue. Founded by the Italians Luca Bendandi and Matteo Cossu, the publishing house operates as a network of creatives scattered in cities such as Toronto, New York, Rotterdam, Milan, Barcelona and Berlin. Its authors will also showcase their works on a wall /infographics with intellectual and spacial connections.

The topics covered in Fahrenheit 39, go from design to typography, fashion, architecture, or more technical and skilling issues as silk screen printing or fixed gear bikes. During the four days of the festival, conferences will be complemented by other events: live music, workshops, video performance, talks. There will be as well an unexpected activity: a workshop of graphic destruction of books.

Fahrenheit 39 is a unique event for anyone interested in understanding the future of paper books after the emergence of electronic publishing. Since its first edition in Barcelona, the festival aims to be a source of inspiration for artists, photographers, fashion designers, illustrators, designers, students and all those captivated by the creative restlessness.
The festival will be held at Mutuo – Centro de Arte, C / Julia Portet 5.Barcelona. From 20 to 23 of April.

More info:
SHS Publishing’s website

Translation: Violeta Morelli.

The coming out of the 5th Fanzine FIESTAFIESTA will take place in Bufalino (Calle Puebla, 9. Madrid) on April 24th. David Hornillos, ex student of Blankpaper School Madrid and member of the photography collective Fotoaplauso, will showcase his work. David strengthens his speech with his work at Atocha train station (Principe Pio came first) and consolidates its photographic universe with the novelty of using a very strong color.

Via blog de BlankPaper.

©Photographs by David Hornillos.

Translation: Violeta Morelli.

Now, in the middle of capitalism, there are two completely opposite societies coexisting in Chinese large cities. Chinese new generations want to change the image they project of themselves to the West. They want to stop pretending to be robots and being a synonym for cheap. They want to work in creative jobs and new technologies instead.

In general, Chinese young people want money, a good car and becoming powerful. They pay attention to the image and lifestyle of the West. Old people go on wearing white shirts and meeting on Sundays to sing in the park.


Nowadays, China is growing dizzy between these two philosophies.

This is a selection of photographs from the project No Car No House:

Meat drying up under the sun, Guangzhou

Shopping Center with actor Andy Lau advertisement, Shanghai.

Young girls washing their hair in front of a hairdresser in a traditional street of Shanghai.

Two girls on Maitan street, commercial district of Shanghai.

Chaoyang, Beijing.

Sanlitun Village, Beijing.

Garbage, cocks and clothes, Shanghai.

Western cosmetic brands are opened to the Chinese market, Shanghai.

Duality in Shanghai.

Office workers speaking in a shopping center, Beijing.

Hui minority young girl, Beijing.

Young with a crucifix and toupee, Beijing.

Don’t miss the amazing video for the Chinese song No Car No House on Youtube:

©Photographs by Albert Bonsfills.

Seeking Magazine: Barrio seems to me a courageous and thrilling project. ¿When did you take up this project and how are you carrying it out from the beginning? ¿What did you mean to tell when you started?

José Deconde: Barrio is born from the need of developing a photographic topic. I wanted to carry out a personal project, taking photographs of my closest social environment and its inhabitants (my neighbourhood in Madrid’s downtown), where I live since 10 years ago. Soon, I realized that I couldn’t identify with this place. Indeed, I felt a rootlessness feeling in me. And I confirmed myself that I missed my neighbourhood of origin, which was less tame than the place where I was living at that moment. I started to investigate in a straight way on the nature and personality of the suburbs, a subject that has been discussed by many photographers but in my case, is something that belongs to my childhood.
Therefore, this project begins with a search about my own childhood, about the things I miss from my neighbourhood; even though this procedure has lead me to discover a profound neighbourhood, a physically and morally damaged place.

SM: At the very start, did you take into account any reference? ¿Are there any photographers that have influenced you?

In the beginning (even before starting this project), I was influenced in a mimetic way by very different references. From the German expressionist cinema to Gerry Winogrand’s or William Klein’s street photography. Later, I fell in love with the photographs of Cristobal Hara, Eugene Richards or Bruce Davidson and his ‘East 100th Street’. I’ve noticed that I’m now more interested in humanist photographers.

I’ve studied Fellini’s work recently, and I think that I’ve been inspired by his movies as well. I like using costumes, paintings, posters and flags in the representation, because for me, this is a way to search thoroughly for matters related to memory, frustration, disappointment or appearance in my childhood unconscious. I find very interesting the barrier between representation (illusions) and reality (disappointment). I’m also very interested in Fellini’s vision of his characters’ inner voids or his expression of a deep crisis of values.

In the creative process is very important for me not only to take into account references and be fueled by them, but also to use my own intuition. Working without thinking allows me to connect with my own emotions and beliefs. I think it’s important to escape from the duality between rationalizing your work and letting yourself go without thinking. I find both ways very useful and necessary and I think we have to make use of them according to the moment. Accordingly, in my pictures I try not only to document, but to express emotions.

SM: You tend to photograph people who are in certain way, in a social exclusion situation. Are you conscious of this? Why and how do you choose each person?

I started to feel confortable while I was visiting some marginal areas, because I realized that in those places, I was able to go into the concepts I was interested in: identity, rootlessness, crisis, … and this way I could draw a map containing the essence of the inhabitants’ character.

But now, the more I take pictures, the more I realize about the fact that we also have in common with those people that essence, more than the way we think. In our society, the real crisis has to do with morality, not economics. There are no values, we don’t have a “what for”, a direction in our lives. This is social exclusion to me and it exists not only in the so called marginal areas.

I choose people in a very intuitive way, not reasoned. I think that I connect in a certain way with some people’s feelings, and I soon feel the need of capturing them. There are people who express something genuine, something that captivates me. And I must confess that nowadays, I find that authenticity in social and financially poor and rootless people; not so much in other people, in which I can only see appearance, selfishness and a big lack of personality. Even though I know that behind that mask we can find the same or even worse fears.

SM: I think that confidence is very important in this kind of projects. How do you get the complete trust from the people you photograph?

I work as a personal coach and it shows me how we need to developed active listening and empathy. Paying full attention to the person you’re talking to and walking on the other’s shoes are demanded strategies when you want people to trust you.

Inspiring confidence involves connecting with the emotional state of others, understanding and not being prejudiced against them. To achieve that, I make use of a very important thing: non-verbal communication; your physical expression when you meet someone determines the success of the subsequent relationship. There is no use in asking “Can I take a picture of you?” if you don’t express confidence and honesty in your non-verbal communication. When I talk to someone I try to set up a connection between equals. This attitude makes me possible to strike up conversations with very different people in greater depth.

Another thing I think we shouldn’t do is to project our own fears and restrictive beliefs onto others. We usually don’t think so, but in fact, people like being photographed. It’s just that we transfer our mental maps to the others.
This way, I get to know other realities and while I’m at it, I grow on a personal level.

SM: Do you have any relationship with these people?

Impatience is one of my faults. I connect in a very ephemeral way with people I want to photograph. A friend of mine tells me I can easily “get into someone’s kitchen” and get what I want in very little time. It’s probably true. I would like to connect with other people in greater depth though, just in order to express and communicate from those people’s inside.

Nevertheless, I must say that I’ve had an emotional bond with some of those people. I’ve photographed the illness of a child or the financial problems of a family. Sometimes, I’ve been emotionally affected by these people’s problems.

SM: In documentary photography, where close contact with people and their environment it’s involved, the photographer has to deal with different situations, he must be alert, be kind to people but also cautious. Is it easy for you to deal with these situations and the emotions that flow?

I guess you mean If I had any problem with someone on the street. I’ve never really had a serious problem, I’ve met quite reluctant people though.

You’re absolutely right, you have to combine gentleness and caution, and it’s not easy to find the balance. When I take photographs, I try to be respectful but I have to admit that if I see the picture I want, I cannot stand and wait for the other’s permission. I take stolen pictures many times, they don’t see me most of the times, and when they do there are several resources that work very well: a good smile, a reasonable explanation, or trying to mislead.

I hardly ever escape from this situations. If I see that someone glares at me, rather than turning around, I go and try to calm the situation, that gives me security and I usually get to win the other’s trust. Whether I take I picture of him or not, I can go on working without worries.

Each person is unique and I try to adapt my attitude to each of them. I worked as a door-to-door bookseller and street photography is quite similar to that …door-to-door cold calling… I think that in both cases you have play a role and know how to do it (with empathy) depending on the person you’re talking to.

SM: I notice a sense of fragility in some of your pictures, as if something was about to vanish. In others, instead, I feel loneliness. Do you think that your project talks about human being’s pain and despair?

I think that my pictures content pain and resentment, yes. It’s the result of broken dreams, unfulfilled expectations, ruined illusions. It may be a feeling of disappointment. However, I believe that there is also a sense of pride and dignity, which are the feelings I see and feel in people I meet on the street. People with personality but at the same time, fragile. I think I notice these feelings because I actually share them.

One of the things I’m enjoying in this project is to be able to break with my own prejudices. Talking to a gypsy in a shack or a junkie can be interesting experiences. Because I discover the person very quickly, and the humanity that comes from them. I find that we are not so different from the others. I don’t want to talk about junkies or gypsies in my work; I want to talk about people, about human beings who work hard to find a place. Who search for their own identity.

SM: Places and people are inside a harsh environment in your pictures, far from comfort. Do you think these people are somehow marked by this environment?

There is something that draws my attention. Many of the slums in our city have open spaces and sand. This sand reminds me of the open fields where I used to play as a child. Children used to play on the street the same way that they still do in these neighborhoods. This aspect moves me.

Many people live in small houses, and live with their neighbors; there is still a sense of community, of membership. I know districts where half of the inhabitants are relatives. This is very interesting to me because it connects me to my own memories of the neighborhood where I grew up, where we all knew each other.

If you look closely ar the pictures, the environment is not clear: markets and fairs, painted walls or posters can be in almost any neighborhood. Maybe I’m wrong because I’m very inside, but I can’t see a really harsh (physical) environment. In fact, some of the pictures are taken in Madrid’s downtown, even if they don’t seem to.

I have a map of the city in my home, in which I stick magnets in the places where I take pictures. I assure you there are few places of the capital that aren’t part of this work. Which leads me to think that those emotions and feelings I express may be more common to all than we think.

SM: When you finish this project, would you like to make a photobook?

I would love to. In fact, I’ve already made two tests as a model, just to see how pictures looked on a page. I’ve also made a slide show just to test.

I am very interested in photobooks. Moreover, I hardly conceive photography in any other medium, just because to me, photography consists of telling and expressing. With a book, you can create sequences, structures, silences, games and dialogues between pictures, rhythms and latencies, you can “play” with the reader’s emotions, you can jump and play with the medium. You cannot see that in exhibitions or slideshows, that’s another story.

I would love to be able to shape this. But so far, fortunately, I still have motivation to go deeper into this topic.

Interview by Andrés Medina.
Translation by Violeta Morelli.

©Photographs by José Deconde.

Seeking Magazine: I believe that ‘Market Town’ is a project in which you have invested a lot of time and dedication. What was it that pushed you to begin the project? What was it that you wanted to tell when you began?

Jim Mortram: I began the project out of a period of great solitude for myself. I was loaned a camera and had, I guess you could say, a moment of clarity. I was able connect and see things in a way that for a few years I was unable to do. I’d always been socially conscious and as soon as I had a camera in my hands I wanted to document and share other peoples stories, it was a very natural progression, not a choice or a plan, it was just what came from me, through me when I hold a camera.

SM: What is, and where is ‘Market Town’ located?

JM: Market Town is Dereham, Norfolk U.K.

SM: Have you been influenced by other photographers?

JM: Yes. Most notably Eugene Richards, W.Eugene Smith, Eli Reed, Brian Lanker photographers that had a acute bond and empathy with the stories that they shot and tried to share with a wider audience.

SM: I think you’ve documented your working process with the people you photographed through interviews. Tell us how what this process has been.

JM: In the beginning, I only had the streets to work from. It’s been a very organic evolution. People I would see, stop and talk with I began to form tighter bonds with, would visit them at home learning more and more about their lives as the trust between us grew naturally stronger and barriers were lowered. As time passed, people suggested people they knew that would like to get involved until it reached a point of self sustainment, I’d attained a network of inter connected people and I’m honoured to be a part of it.

SM: In some of the portraits one can appreciate a powerful connection, a very genuine understanding between you and the photographed subject. How was your relationship with these persons?

JM: I never judge people, in any way. Regardless of their life, situation I connect and did so way before photography on a human level so that was carried into my relationship with the people that I document. I’ve full disclosure with everyone I photograph, by this I mean they all know me as the guy with a camera!… so there is no shock when I visit with one.

Everyone understands I publish work where and when I can, principally to share their story and everyone is made a part of the journey of the story after the fact, if I can get my hands on a copy of a magazine or book that’s featured work the first person to know of it is the person within the shot. As my work has evolved from what felt, to me, like short form documentary to long form that sharing, bonding and shared happiness has grown stronger. More than anything, I don;t see myself, in any was as apart or other from people I shoot and I think that makes the biggest difference, it just happens that I always have a camera to hand and I love to listen to people and their stories and I care.

SM: After spending so much time with the subjects you’ve photographed, there comes a moment in which you know many details of their lives and they’ve told you the story behind them. What have you learned from all this?

JM: I’ve learned that people are strong, compassionate, trusting and resilient no matter what life has thrown at them. I’ve nothing but vast respect for everyone I’ve ever photographed. I’ve also learned how cruel, tough and unforgiving life and society can be and I think, my photographic work is a way of my saying to the world, I care even if the majority of people, don’t.

SM: This project has taken you more than two years. What has it meant to you to work on it?

JM: Other than my family life, which is the glue that holds me together this project has meant the world to me. It’s outgrown the label project I think, it’s more than that. It’s what I do, I live for it in a very genuine way and I think no matter where I was to go, whatever I was to photograph I’d address it and relate to it in the same way. People are people wherever you go in the world and I’ll take all I’ve learned with me. Market Town could only end were I or all the people I photograph leave but the ethos of the project will never leave me for the reasoning behind it is so simple, to reach out and connect with members of a local community and to attempt to share, however I can the resulting stories.

SM: In what way are you circulating this work? I believe you’ve done an exhibition and that you also sell numbered prints of some of your photographs. Tell us a little about this part of the process.

JM: Exhibiting was hard at first. Financially more than anything. If you self fund it’s a killer. As time’s past and my photography has become more well known I’m in a position now where I’m being asked to include work in shows and that a weight off as the gallery will pay for the costs. I did sell prints, solely for the purpose of raising the capitol to buy my own camera after years of borrowing equipment. I most likely will sell Ltd prints again in the future as the running costs of merely shooting could never be covered by my wages as a carer, not huge costs, just transport, film etc.

SM: Do you have in mind publishing a photobook of this work?

JM: Sure. If a publisher comes to me with an interesting offer, absolutely.

SM: What is the next project you wish to taken on?

JM: I’ll continue work on Market Town, my new blog ‘Small Town Inertia’ and focus on specific long term documentaries within that framework. Currently one of these documentaries is dealing with living with Epilepsy.

Interview by Andrés Medina
For more information about Jim Mortram take a look at his web and his blog.

©Photographs by Jim Mortram.

Check out her updates on Flickr, she is selling prints made in his darkroom on this website.

©Photographs by Missy Prince.

More info about Marcin Kaniewski in his flickr and website.

Photographs by Marcin Kaniewski.

Check out Rich’s work on his website and his tumblr.

©Photographs by Rich Burroughs.