Jose Carlos Soto

Soto, Dorita and Paquita got together to design this revision of Carpa 94, near their house, under a tree that the author proclaims “magical”. Although in these summer dates it does not do justice to the nickname, according to him and, it is true, because of the photos he has been taking of it over the years, he does have a special soul when we cross the border between the third autumn and the first winter.
A simple menu, prepared by Soto, consisting of: a summer salad of white beans, red pepper and tomato to continue with a potato and courgette omelette, a cream cone for dessert, served to quickly define this copy that you can see on your screen, friendly reader. Paquita insisted that she review these small gastronomic details as they would serve to link this prologue with the veiled culinary references that appear throughout the project. Like popular music, natural and homemade food supports a good part of his work, at first glance, for this reason, it seems to be presented as a minor detail in his work, but this is not the case. The author likes to eat, simply, but he likes it and our two friends were able to verify it when they returned home with several full hermetic containers.
At that meeting it was decided to change the original cover and replace it with one of the poems that are included in its pages. The black and white welcome photograph was kept and Dorita allowed herself to change all the usual structure of our introductions. The photographs taken during the work sessions of Carpa 1508 would prove the four of us and he asked Soto to update the double page that opened the project. Given that our intention was to remember our missing companions, she decided that the original texts would flow together with ours and for her memory she asked Soto for two of her florals in black and white, I still don't understand how she never wanted to show how they deserve those series botanicals that we love so much in this editorial staff, to, together with an old popular poem, remember our friends.
Soto, for his part, restructured the entire project. He eliminated many pages that he considered unnecessary and replaced them with works made especially for this number, in a certain way, so special. The succession of small-format photographs, treated with the aging program, had always seemed too extensive to him and the poetic works appeared, according to his criteria, out of the blue without knowing very well the reason for their inclusion and the editorial staff of artistic photography , even today it seemed that way to him, he had not been able to interpret the global meaning of "Summer morning". Soto, for this reason, acknowledges that in those years, many concerns plagued him and he had said that if, in fact, at the time, he gave the go-ahead without studying sketches more than once as is his custom, than he still , in 2022, he regrets it.
When asked about the inclusion of some untreated photographs in the project, Jose Carlos replied that he was trying to maintain two parallel narrative lines, it would not be the first or the last time he will do so. On the one hand, these photographs showed the reality reflected in his long walks and, on the other hand, the treated image announced everything that was collapsing around him, even before anyone else perceived it.

I really like your style, if I may say so. The graphics and your Layout is very modern and cool!

da nada! yo solo hablo poco espagnol, pero me gusta mucho la gente y la lingua! I follow you now on Insta! ;-) gracias por su trabajo!