I think we are reaching a point of maturity in our relationship with the digital phenomenon as creators, I think the ghosts that haunted us a decade ago have begun to fade away, certainly others will appear, but I think we have come up to terms with the first ones.

I would like to end this particular point by mentioning that nowadays is more common to find exhibitions with both chemical and digital prints. Websites that show vintage chemical processes and traditional creators exploring the new tools without the fear of the machines taking over the ideas.
Another of the best expressions that I have found this decade in the digital world is the photography of the Media Art, an art form that is produced specifically to be received and transmitted through a specific medium. This artistic expression has had different moments; we can mention video as one of its best-known expressions.
However, web art looks to express itself under some old principles such as the ones of the counter-culture we are exploring again the need to get out of conventional media and ways to disseminate art, of stepping out of the boundaries of museums and galleries. We are trying to understand the new ways in which people deal with art, and we are blurring the concepts of artwork as synonymous of an object, and of art appreciation as a face-to-face experience.

Media Art and Web Art hold hands together, in our case photography has found spaces that promote the creation of images that are solely distributed in the web, but most importantly, the development of software has motivated the expansion of the possibilities of photographic language, flash animation is a clear example, we make traditional photography live (again, the crossovers) in a digital medium, but we broaden our narrative possibilities with these new resources. This web page –still in development- allows me to show my documentary work in a new manner, the animations have been made from still photographs giving a different meaning not only to the content, but also to the possible interpretations of my work.

There is one more issue I would like to address; I apologize for an excessive reference to my personal experiences. Electronic books in PDF format are one of the surprises that the future held out for me in the past decade. I shelved a book for a decade and when it finally saw the light it came out in a completely different way to my original conception, it came out in a format that allows publishing at low cost and better promotion possibilities. Of course, I do not intend to start another fight this time featuring electronic books vs. paperback books, I think I’ve made it clear that I’m pro-coexistence. The book as an object is one of the most precious products of our civilization, its value is undeniable, and its beauty, seduction, acceptability and content are out of the question. The new format offers features that complement or potentate books. It is more interesting to reflect on the external processes of the book, its distribution as its weak spot, and production costs that make publishing the utopia of every creator. All photographers with something to say have a book in mind, very few can see it become a reality, even less to distribute it and sell it, thus very few people have the chance to see it and share the opinions and ideas of the photographer, in the end, it is quite an elitist medium.
Electronic books open a huge gate to counteract against this phenomenon. Any photographer can become his or her own publisher; distributor and most surprisingly, he or she can reach a potentially large number of readers. In the end the goal of the photographers is the exchange of looks, of glimpses, not the book sales