SANS ACCENT // SEM SOTAQUE by Wes Foster

SANS ACCENT // SEM SOTAQUE

Rafa, I like it a lot. My only consideration (and provocation) is: do you think it’s necessary to quote the e-mails literally? I mean, what about the possibily of using parts of text? I think that quoting 100% in the e-mail can be something too but I don’t know if it wouldn’t be more powerful to select well what will enter and what won’t. :) cheers, *thought When I consider to include our correspondance with the images, I though in things like these... I think it will be better a indesign file that we keep uploading and renaming.. I don’t know if it’s better for you too... ;) Haven’t had chance yet mate, I’m off work tomorrow though so I’ll be able to put something together then. Shall we do quick PDFs or an indesign that we keep uploading? Hi, Wes! I have problems to upload in my dropbox and trying to solve it. Did you provide some Indesign file there? Okay, Wes! Once we have something, we share! Want to create the common file there? Yeah I think something like that would be pretty nice, Will definitely help to bond the images together aesthetically.

And yeah I think that’s the best way to do it, just make rough drafts and then send each other them, changing little bits but doing it quickly. I can’t do any tonight but will be able to tomorrow / in morning. Really cool! I think its an excellent reference. The symbiosis with text can work it out. Do we make tests and sent it here? I think he does it in most of these http://tillmans.co.uk/book-downloads Ahhh that’s an interesting idea, could even put it in as a layer behind the images rather than a completely legible text. No, I think I haven’t seen. Could you show me the link? Are you considering to include our email correspondance as a material for the publication? I believe we don’t need to be formal or standard but we should decide a work plataform for both of us. I’m free to listen your suggestions on it while I’m here selecting the images. Rafael Adorján rafaeladorjan.com Yeah definitely, and yeah I use indesign. I think maybe we should start putting all the images into one folder that we think work, then start o put together the document from that, Have you seen the publications on Tillman’s site - overlaying images and space? Or do you want to make it more formal and standard? Hi, Wes As we have less than a week, I believe that we now have to be even more practical. I don’t know what software you use to edit your PDF editions.

My proposal is to set up the publication from a indesign file where we determine a format and leave it open, saving each time that we are including our photos and modifying it. I think it’s a way to start and if you want we can also add some text too ..What do you think? :) Really like your most recent images - they’re really vibrant and colourful, I like the way they’re at odds with mine.

Not sure how to start it really - perhaps we should look at other publications to see what sort of style we think we should do. Yeah, Rapha. Although it was not originally planned, my images also going to a more humorous side that would be like a “Martin Parr way” if I prepared myself for it ... Now, I’m waitng for a sign of Wes to start editing..I think we will gain a lot from this mixture. :) Wow, the contrast betwen the images couldn’t be better :) Very very good, guys! Loved the ruins that Wes photographed and the biciqueer... and how the light is different in each place! :) This weekend was crucial to think about what we can do with the time that we still have. I confess I felt influenced by images of Wes and decided to do something like that it too. I took my bike and went out photographing what I found interesting in the neighborhood. Among many things, I ended up running into me with a critical mass event (here called “Bicicletada”) with the name of “Biciqueer”. It was really fun. I think the spirit of the project comes in to respond to each other through the images. At least that’s how it seems to be working with us. Probally I still move the dropbox folder, but initially removing some images. From my part, I believe that already exists a material enough to move to the another stage (because the week is moving...).

As we have many images, I think we can begin the editing from what we already uploaded in dropobox. Maybe one choosing the material of the other, to continue this creative process together. And then make a skype meeting to also think about enlargements, etc, and how we present it to the space of the gallery.. ;) Wes, we wil check. ;) cheers It’s definitely doable at uni, but I don’t know what is open at the minute - they may have closed some of the printing services over summer. Is there someone at the grosvenor that you could ask? That’s probably the best bet. Hey! About time we still have some - the photos can be printed at the uni or somewhere. Probably Wes will be the best person to recomend us some places, right? And here’s the soundtrack while I was checking the photos of Wes...Don’t you think that combines? ;) https://www.youtube.com/watch?v=L1G0jl0Vc64 But considering cleary that the most important is this editing that we do together, rather than something that will necessarily be exhibited in the gallery ... Yes, I definitely agree with Wes. I think we both need more extra days.. The date you mentioned looks good, Rapha. But I’m communicating here on my steps... How much time do we have to make prints and enlargements up to the date of the opening? Time is running!....;) Yes, great, guys! It is happening :) cheers

I think definitely continue for a couple of extra days, especially now that we’ve seen each other’s. 26th sounds good. I ended up using my point and shoot because I was on my bike, I may try a few on my phone but at the minute it seems to be breaking up so don’t know how long it will last haha. Really like your stuff Rafael especially because of the mixture of 35mm and phone, in response to the use of 120 in your other stuff. All mine I’ve been taking on my bike, whilst moving - I like the idea of the idea of the image being fleeting - so the result is not exactly what I wanted when I took it, and changes. I think start trying to put them together over the next few days, ish if that sounds alright. Rafa, yes, I super understoon everything. I looked at both of your images now and is very interesting - specially to see how your images deal a lot with the presence of people and the presence of some “intense” or even funny aspects of Rio in contrast with a more suburbia imagery photographed by Wes... :) It will be good, I’m pretty sure about it. :) Let’s wait for more images... Should we go on with until.... 25th? 26th? Anyway, when do you think we could start editing the images? cheers Hi, everyone! Funny to see these photos because Wes was thinking of doing something very similar. Exit on the bike Sunday morning and photograph the surroundings. I believe it has also done something similar, but this time had left without a bike. My photos are also places around where I live. Are you only working with you cellphone, Wes? I ask because I believe that I don’t have one that has photos in such good quality ..

I was photographing with cell phone, but remembered also wanted to do some tests with a 35mm film. So I decided to mix photos with the two techniques, and it will be obvious to check. The thing that excites me is preciselly what is differential in relation to another project I’m doing in parallel, shooting at 120 mm, all very accurately. I think here we have a kind of picture made by any day, even though it is not known exactly what defines it. I just put only now some pictures in the dropbox because I was waiting for the revelation of the film. How did I scan the negatives at home, the quality is pretty bad and the colors do not correspond. But surely they have a better quality. Also I made a choice to leave the photos with the negative windows, perhaps thinking more in the publication. But of course it may appear or not, so I sent as an options. Remembering my suggestion to shuffle these pictures, I think we can go further. Like putting them in a large panel and make combinations, doubles, tríptyches as if it were one. I’m thinking we find the partnership will truly have some consistent results precisely in the edition, in the (re)organization of the material. Because each one will shoot your way and even without identifying who did what, this is obvious to know because of the different landscapes. So I think we’re not joining to create doubt, but just the opposite, a kind of symbiosis on a daily time of two such different places with different techniques, or not.... Was it possible to understand the proposal? Cheers, Yes, Rapha. Received. But I need more space on dropbox before I can share something. I’m solving it. ;) heya, have u all received the invitation for the dropxbox folder? anyway, it’s already working :) rapha guys, I am waiting for Raphael. He is on his way so we will connect in few mins. thanks :)

Keep forgetting to put reply all on my phone! But I don’t have Skype yet, I’ll download it tomorrow and let you know/add you. Okay! Deal! My skype username: rafael.adorjan see you all tomorrow :) okay, we have a deal then. so, wes, whats your skype username? rafa, and yours? mine is rapzstobi Yeah 3pm is great Wes, how about you? We need you indeed! It is not going to be long and I promise you, you will love it :) Yes! definitely, I am free tomorrow any time.

To me it would be perfect... Nuria, Wes? Ok. What you think of 3 PM there (11 AM here)?.... Is it ok for you?. Here’s my skype name: rafael.adorjan ;) I can do any time really, just let me know when is best

I believe so, Rapha. What time is best for you? ;) Rafa, can you do the skype on tuesday? Of course, have in mind that we are four hours in front of Brazilian time... :) Yeah I agree, put that together first and have the images/sequencing basically ready and see how we feel they will fit best. Apologies but I thought I was off on Sunday but I’ll be working a night shift so not sure if I’ll be able to depending on what time, would it be possible to do it on Tuesday when I have a day off? I don’t think they look bad in Grosvenor at all, far from it, I just think that they don’t look as good as they could when hung. There is no ability to direct light or control it. Good to know your vision about space, Wes. Because I’m just seeing it through for the pictures and since you’ve been there, certainly you’ll be able to have a more complete understanding of the gallery possibilities, as well as Rapha. Thinking about your answer, I suggest we can begin to primarily focus on the production of this joint publication and the respective texts, something that need not be too long as well, I believe.. With this material in production, proballyt it will be easier to think the way how we will occupy the space of the gallery. With projections, or a more installative way, as you suggested. I believe it is great idea to think something mounted to the floor, for example. There are advantages with this option. Besides presenting more images, this choice may be the most dynamic, creating something that relates also with the public. Anyway, I think there are many possibilities with these alternatives. But I always ask myself is whether all of them would be more feasible. But, of course this will become clearer from what we have produced and not the opposite way... Anyway, we can talk better about the starting point for the images via skype. It can be on Sunday if it is better for you two, and for Nuria too, of course. :)) Wes, not a problem about not coming here... I was just curious. :) It’s curious to read your opining about photographs in the Grosvenor - never really saw the space in this perspective of not being an ideal one because of the light. I agree that

the light is quite present there but when, for example, I saw the Photography degree show in the room, I haven’t seen any problem. Anyway, nice to hear from yout about it. I think that the idea of you both writing about each other work is quite good - also makes a lot of sense for this project. After having a starting point for the photos, I think that the other ways of showing it besides the publication will come naturally. :) Perhaps we should try to schedule some skype in the following days? Sunday, perhaps? I’ll be from friday to saturday in Liverpool... so will only be back to Manchester in saturday by the night. :) cheers Yeah I’m definitely up for a Skype conversation at some point soon. Sorry Raphael but not sure when I’ll next be in Manchester, definitely at the end of the month (24th), though I’ll let you know if I can get through any earlier, got a few deadlines that I need to meet first. The Grosvenor to me is a little bit of an odd one. It is a really nice space, though I’ve always found that the sky lighting was problematic for prints - they don’t have any atmosphere or ambience, which is something I think that our styles work with quite a lot. I would also say that I think we both enjoy creating publications because it gives the viewer a unique experience: they can flick through or they can go through it rigorously, they can pay attention to certain images and never read the text etc, in that way it is their unique experience.

If possible then I think if we were to have prints mounted in one of the darker rooms, usually reserved for video or installation work, that way we could light it to give far more atmosphere to poster prints / enlargements to really bring them to life. Or we could project, though unless the work is made for that I always feel that is a little bit of an easy way out of printing. Or we could do something a little more alternative - like a box of prints which people had to go through themselves, thus creating their own reading, or mount them on the floor - not necessarily so that people have to walk over them, but so that grime collects and people can miss them completely. Grosvenor is a brilliant gallery but I feel that unless we have huge prints - wall consuming prints - the flat lighting works better for other mediums but not necessarily the contrast of photography. Let me know what you think anyway,

I like the idea of the everyday and the mundane and the everyday, something that features heavily in our work anyway. I especially like the idea of sorting them so that we don’t know who’s is who’s, allowing it to be completely collaborative. Maybe sort them simply based upon the aesthetic, the way the lines work, the colour etc - just very simple to create a body of work that ‘gels’. I’m also definitely interested in writing about each others work, so that we can see what we think the differences and similarities are if you want to give that a go? It´s fine by me, Rapha. But I think it gets better towards the end of the week.. ;) The possibilities of printing are huge - we have some budget and even the uni has good places to print. We just need to have in mind, of course, the use of the space for everybody - I mean, we still dont know if the other artists will use the walls too... anyway, Im sure that some space we will have for some enlargements :) Our speed is very good - perhaps we could Skype someday to discusd the “concept” for the photos... Wes, when will you be in Manchester? What do you think, Rafa? cheers, Rapha Yes, Rapha! It is precisely this project. As I said, it will be a long process, but I sent to serve as a reference that I’m doing. But what I can say is that it will be something that not only involves photography, due to the notebook issue that I am doing in order to become an exhibition and also a publication. And I think even will also contribute with my dissertation as well ... ;) About our project here, I think me and Wes can even think to concept a publication together with a small circulation. At least that’s my suggestion. I think it may be from what we have in common, a look from the everyday, and maybe sort our photos without knowing who did what, establishing a counterpoint, since there is a presence “local” very striking in both works. Perhaps we can write something about each other’s work, as we already doing these emails on previous work.. I saw the space of Grosvernor Gallery and really enjoyed. I think we should also occupy the gallery with some photographic enlargements, perhaps in poster format .. Taking the opportunity to ask: what are the possibilities to do some prints there?

s there? If you think we can speed up the process, maybe we can make a skype conference as I saw you already doing with other artists. ;) cheers, Rafa Rafa, loved the new pictures. Tell us more about this project! Is it for that gallery show you told me, at Gávea? (didnt know about the Piva’s book also... thank u) I think that regarding you both we have a very clear way of working; I mean, since you both work with photography and could be interesting in photobooks, it seems that we have something very directed. My question would be: what subject or concept should we think for this project? Besides the things that obviously interest you both and we have been writing about it this week, perhaps we could have a clear starting point? Rafa, have you seen the pics of the Grosvenor Gallery? Any idea coming from the exhibition space to the photos? Wes, any suggestion of starting point? cheers Rapha Hey, Wes! Don’t worry about your delay in responding. I also can not be so fast... On your question regarding the book Religare, I believe that the PDF I sent you, some pages are bleeding, and others seem to “cut”, but that the final result appear whole. I do not know if it was clear but no picture is actually “cut” because the parties were in bookbinding, precisely because it was a thought file to be printed. The sizes of the images, some bleeding, others do not, in the case were just aesthetic options to give this arising sequential balance of a narrative that you yourself said.

I really like the examples you mentioned. I know both works and although they are more an atmosphere around characters, human figures, I believe they are great examples of this relationship text-image. Here in Brazil we have books like that, before this term “photobook” be in vogue. As were partnerships between essayists writers, or poets and photographers, but that did not work as a mere illustration because of the strength and importance of the images in the book. An example of a classic here of this partnership is “Paranoia” (1963). With poetry by Roberto Piva and design and photography by Wesley Duke Lee. Considered quite experimental for its time. It shows a well-built urban life and at the same time disturbing, a vision of hallucinations of São Paulo city: https://pt.scribd.com/doc/33761501/Roberto-Piva-Paranoia I know you do not understand Portuguese, sorry. But it’s more to illustrate this question about the relationship text-image. Well, these are just examples to illustrate our proposals. This conceptual border with photo reporting also interests me, although we fully aware that this is not the language of our work. The project I’m working on currently is a sort of living from an area of a house under (re) construction. Something that should go till the end of the year. At the same time I’m also producing a notebook with loose notes and collages from the material I am collecting and photographing. That is a longer process, and do not know if I could use this images for our partnership , because it’s a project that already started from conversations with other people. But there is no problem in showing what I have so far, like the pictures I send you here, just to give you an idea.. About your recent work “Proximity”, what I like most, beyond that the commented mundane aspect and daily life of surroundings inspired by what is “right there” as the title itself suggests, there also has something of the speed of our days, but taking it deeply. This may be the best reference for what we can produce in our partnership, because I think that goes against our goals. After all, it’s always good to remember, we have a short time ... And honestly I prefer to do something new, more connected from our conversations here. Even if it’s on a quick mode, I think it will be more honest and true. Something like a photo split publication, even if they represent a day in our lives. And if we are able to print or enlarge of this material, we could not waste the opportunity, considering that it will be exposed and it’s important that they also gain this dimension of a space to be occupied. I think it’s about what we have to dedicate ourselves from now, from these common points, but always respecting our uniqueness ..

:) Apologies for my slow replying at the minute - I’ve been moving house over the last few days so I’ve had no time whatsoever haha. Yeah I don’t mind whether we do use text or not really - I think a considered statement each (if we do put together a publication with a series in) would work well, whilst not detracting from the images - like in your Religare work. Thank you for sending me that PDF by the way, it’s really good to see it as a full text. From the bleed marks I can’t quite tell but is it designed specifically so some images meet the edge of the page? I found that your positioning of the images and the sequencing was really nice, and allows the images to flourish brilliantly. Thanks for the link, I think it is finally something that is becoming more used as a medium - there have been many, I think that don’t hit the mark with that form of working though I think that ‘Chambre Close’ by Bettina Rheims and Serge Bramley and Rene Burri’s book on Luis Barragan are two that work extremely well because of that balance between the image and the text and the space in between. I think I was probably attracted to it because I really think that ‘fast’ projects can work really well, that quick turn around and response creates something that seems more emotionally tender and in touch with the work that is trying to be created. I’m not sure if you’ve seen it but one of my most recent works ‘Proximity’ was the same (https:// www.dropbox.com/s/l5hrax544f4p4s5/Proximity.pdf?dl=0), shot across one day, and designed and printed the next. Something that helps it feel more current, and I think one of my favourite pieces. That sounds really interesting, and by the sounds of it touches upon things that parts of my last book were about. It’s a really fascinating topic I think, and architecture - or at least our surrounding environment can say a lot more in a photography than other subjects can. Ah thank you, they have a long way to go as they’re just crude digital images based as an outline for the initial idea. Stupidly I left all of my film cameras at university haha and have only just got them back. I think that both of our work is very much based around our surroundings and environment, especially the ordinary and the mundane to an extent, as well as aims to question what is taken for granted, and the status quo. Correct me if you disagree with any of that,

Yeah definitely, I’m looking forward to seeing something that you’re working on currently, Usually I do not use texts in the production of my series. But I always like to write a presentation text and other annotations in parallel on my process of creating images, as a daily. But this is a material that end up not showing, perhaps I always focus on the images. But now it is a new project, we can do differently... And by the way, I’ve just receive this link here about the Arles photo festival, which begins now in July, and has just opened a related category for photo-text books, to see how this relationship is really important ... http://www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARLAR1_460_VForm&FRM=Frame%3AARLAR1_457 I’ve attached the PDF file with the contents of my Religare photobook for you to realize how I treat the question of narrative in this series in particular. And about the one you mentioned, Vila Longuinhos, maybe its even one of the most minimalists works I have ever done, in all aspects. It has something of melancholy as were all done in one day of moving, it’s a kind a farewell of a space. I’m currently working on a project related with upcoming issues such as space, ruin and architecture, but there’s a long way to go because it tracks the transformation of a improvement space, and is still at the beginning. I don’t know if I would have something to show yet ...

And I would like to say I liked those pictures of that project “Suburbia” you are working on. They seem to bring a picture of a local atmosphere, a place at the same time controlled, monitored, although an “alleged” quiet. I think there’s a lot to work on what’s behind the images suggest. But I already see threads and developments in this way there .. Meanwhile I’ll wonder what can send in return related to it all .. we’ll keep in touch ;) Wes, thanks for the e-mail! I really liked this images you sent - there are many interesting signs on it... I like these contrast between the plants and the walls and how they can be read somehow in relation to the idea of having “borders” and how nature always

“invades” these fictional and political limits... does it make any sense to you? It’s also interesting to see how this interest entered with the fact that you’re working during summer... it is somehow a crossing between your production and your own biography. I like these crossings. :) Talking about suburbs, how to forget: https://www.youtube.com/watch?v=5Euj9f3gdyM We can also think about a zine/print + something for the gallery... anyway, we have plenty of time. :) cheers, Rapha I really like the idea of aiming to have something in a zine/print form. I think even if we end up creating pieces more for a gallery then the cohesion from designing the work to fit in one publication will work well, as will any sequencing that we do. I have seen some of the images from Religare, but just the ones on the site so if you do have anything like the PDF to give an idea of how the images look on a page next to each other I’d really appreciate it. I was really struck by your ‘Villa’ series. The minimalism and the way you pick out patches of light is really nice, is there any more to that? At the moment the only project I have on the cards so to speak I think is ‘Subutopia Suburbia’ (I’ve attached a few images to the email). I’m working 12 hours shifts over summer so i wanted to do something around that, and how we take in information especially after the referendum that you may have seen the result of recently. I suppose it will be about the suburbs and about contentedness, as long as we’re not affected by whats happening when it comes to austerity most are benign and apathetic. Protecting what we have already over trying to make things better. not sure yet though, it’s very much only penciled in. (p.s. sorry about sending that twice Raphael, forgot to hit reply all) I think that the relation between landscape and image also connects your work... I like how both of your photos arent based in “dramatic composotions” - actually they have a lot to do with some kind of “ground zero” perspective - banality, attention to the detail and silence. Rafa, could you share with Wes your amazing RELIGARE photobook? do u have it in pdf?

Wes, could you tell Rafa a little more about your writing experience? I think thats another point: Wes sometimes uses text and, if Im not wrong, Rafa generally doesnt do it, right? Abou printing (or not), we have the possibility (and even a small really small budget) to produce things here... :) cheers,, Rapha Hello Wes, Lovely to meet you too. Thanks for the feedback. Well, I recognize that there is something with a sort of triviality, banality, to have much of my work in photography generally related to the everyday life. And somehow, I also see it in your work as well, which really pleased me. Raphael had commented me about your material filed in the dropbox. I particulary liked these images in sequence, as an album, what you call “a thing”. He told me that you make by yourself but never prints these pdfs. So I thought we could start thinking to produce a photo zine with images of yours and mine from a particular theme or not, that may prove to be printed or not. I make that initial proposal because I am also very interested in the world of publications and in this desire to organize images in sequence. I believe this is already something relevant we have in common to start to work together ... well, these are only are the first ideas. Tell me what you think and let’s talk about these impressions... :) Hello Rafael, Lovely to meet you. Sorry I hadn’t emailed earlier, been a little busy. Have had a look at your site though and I really like your work, there is a real simplicity in a lot of your image making, and a sort of banality to them that I really like. I’m not sure how you want to start off putting work together or in what direction you want to go, any ideas primarily? Hello Rapha, Wes and Nuria, First of all, it’s a pleasure to be part of the project.

As soon as I watch carefuly the work of Wes, I’ll make some comments in order to seek points of contact to have a conversation starter. Best, Rafael Hi all, Nice to meet you Rafael, I am glad of having both of you in this project, Rafael and Wes. It is being an incredible experience for me to be part of this and am sure you will come up with something great through your conversation. Talk to you soon, Nuria. Hello Wes, how are you doing? I hope you had a good week. It was nice to talk to you in the other day about your work which I found really interesting. We are glad to let you know that we would like to invite you to the project about to happen at Grosvernor Gallery in August. Now we would like already put you in contact with your “partner in crime”. So we would like to introduce you to Rafael Adorján, now copied in this e-mail. He is based in Rio de Janeiro. Wes, this is Rafael’s website: http://www.rafaeladorjan.com/ Rafael, this is Wes’ website: http://wes-foster.tumblr.com/ https://www.dropbox.com/sh/2lgluzqq6d6sajz/AAB6rG05pQyJ9J7oj4LEEmtRa?dl=0#_=_ It would be good if we could start to exchange some emails before talking by skype. I will be back to Manchester on monday and then it would be good if we could start to schedule the best day for this dialogue to everybody. When it would be better for you both? I am also copying in this e-mail Nuria, the assistant curator in this project that is a student in the Curating MA of the uni. Please, when you answer, don’t forget to answer to all so everybody will read the e-mails together. all the best and let’s start this experience and see what happens! Thanks A LOT to both of you and your interest! :) Cheers,

Raphael. --

To me it would be perfect... Nuria, Wes? Ok. What you think of 3 PM there (11 AM here)?.... Is it ok for you?. Here's my skype name: rafael.adorjan ;) I can do any time really, just let me know when is best I believe so, Rapha. What time is best for you? ;) Rafa, can you do the skype on tuesday? Of course, have in mind that we are four hours in front of Brazilian time... :) Yeah I agree, put that together first and have the images/sequencing basically ready and see how we feel they will fit best. Apologies but I thought I was off on Sunday but I’ll be working a night shift so not sure if I’ll be able to depending on what time, would it be possible to do it on Tuesday when I have a day off? I don’t think they look bad in Grosvenor at all, far from it, I just think that they don’t look as good as they could when hung. There is no ability to direct light or control it. Good to know your vision about space, Wes. Because I'm just seeing it through for the pictures and since you've been there, certainly you'll be able to have a more complete understanding of the gallery possibilities, as well as Rapha. Thinking about your answer, I suggest we can begin to primarily focus on the production of this joint publication and the respective texts, something that need not be

too long as well, I believe.. With this material in production, proballyt it will be easier to think the way how we will occupy the space of the gallery. With projections, or a more installative way, as you suggested. I believe it is great idea to think something mounted to the floor, for example. There are advantages with this option. Besides presenting more images, this choice may be the most dynamic, creating something that relates also with the public. Anyway, I think there are many possibilities with these alternatives. But I always ask myself is whether all of them would be more feasible. But, of course this will become clearer from what we have produced and not the opposite way... Anyway, we can talk better about the starting point for the images via skype. It can be on Sunday if it is better for you two, and for Nuria too, of course. :)) Wes, not a problem about not coming here... I was just curious. :)

As I said, it will be a long process, but I sent to serve as a reference that I'm doing. But what I can say is that it will be something that not only involves photography, due to the notebook issue that I am doing in order to become an exhibition and also a publication. And I think even will also contribute with my dissertation as well ... ;) About our project here, I think me and Wes can even think to concept a publication together with a small circulation. At least that's my suggestion. I think it may be from what we have in common, a look from the everyday, and maybe sort our photos without knowing who did what, establishing a counterpoint, since there is a presence "local" very striking in both works. Perhaps we can write something about each other's work, as we already doing these emails on previous work.. I saw the space of Grosvernor Gallery and really enjoyed. I think we should also occupy the gallery with some photographic enlargements, perhaps in poster format ..

Really like your most recent images - they're really vibrant and colourful, I like the way they're at odds with mine. Not sure how to start it really - perhaps we should look at other publications to see what sort of style we think we should do. Yeah, Rapha. Although it was not originally planned, my images also going to a more humorous side that would be like a "Martin Parr way" if I prepared myself for it ... Now, I'm waitng for a sign of Wes to start editing..I think we will gain a lot from this mixture. :) Wow, the contrast betwen the images couldn't be better :) Very very good, guys! Loved the ruins that Wes photographed and the biciqueer... and how the light is different in each place! :) This weekend was crucial to think about what we can do with the time that we still have. I confess I felt influenced by images of Wes and decided to do something like that it too. I took my bike and went out photographing what I found interesting in the neighborhood. Among many things, I ended up running into me with a critical mass event (here called "Bicicletada") with the name of "Biciqueer". It was really fun. I think the spirit of the project comes in to respond to each other through the

Are you only working with you cellphone, Wes? I ask because I believe that I don't have one that has photos in such good quality ..

I was photographing with cell phone, but remembered also wanted to do some tests with a 35mm film. So I decided to mix photos with the two techniques, and it will be obvious to check.

The thing that excites me is preciselly what is differential in relation to another project I'm doing in parallel, shooting at 120 mm, all very accurately. I think here we have a kind of picture made by any day, even though it is not known exactly what defines it.

I just put only now some pictures in the dropbox because I was waiting for the revelation of the film. How did I scan the negatives at home, the quality is pretty bad and the colors do not correspond. But surely they have a better quality. Also I made a choice to leave the photos with the negative windows, perhaps thinking more in the publication. But of course it may appear or not, so I sent as an options.

I think s

Rafa, ye interesti presenc agery ph :)

It will b

Should the ima cheers

Hi, ever similar.

start trying to put them together over the next few days, ish if that sounds alright.

es, I super understoon everything. I looked at both of your images now and is very ing - specially to see how your images deal a lot with the presence of people and the ce of some "intense" or even funny aspects of Rio in contrast with a more suburbia imhotographed by Wes...

be good, I'm pretty sure about it. :) Let's wait for more images...

we go on with until.... 25th? 26th? Anyway, when do you think we could start editing ages?

ryone! Funny to see these photos because Wes was thinking of doing something very Exit on the bike Sunday morning and photograph the surroundings.

S A N S S E M

A C C E N T / / S O T A Q U E

A collaborative publication by Rafael Adorjรกn and Wes Foster Manchester - Rio de Janeiro 2016