Photobook Conversations #9 | Raymond Meeks: “I’ve found it overwhelming to take in all the possibilities for a work of art, especially a book”

Photobook Conversations #8 | Paul Ninson: “Engagement with photobooks is on the rise in Africa”

Photobook Conversations #7 | Luis Juárez: “Who gets to tell stories through this medium?”

Photobook Conversations #6 | Anastasiia Leonova: “This ecosystem is vibrant, but it is also insular”

Photobook Conversations #5 | Daniel Boetker-Smith: “The best photobooks of the next 25 years will not come from Europe or North America”

Photobook Conversations #4 | Valentina Abenavoli: “Books have always been the proof of lives lived”

Photobook Conversations #3 | Miguel Del Castillo: “Books are meant to be touched, seen and flipped through”

Photobook Conversations #2 | Aneta Kowalczyk: “Not all projects merit the book format”

Photobook Conversations #1 | Hans Gremmen: “Photography is always a reproduction”

Writer Conversations #10 | Tanvi Mishra: “Aren’t we all insiders, truly, only to our own stories?”

Writer Conversations #9 | Wu Hung: “Intense looking is a temporal process.”

Writer Conversations #8 | Max Houghton: “I’m interested in the idea of being able to write with photographs.”

Writer Conversations #7 | Debroah Willis: “The framework of criticality enables us to both reflect and imagine.”

Writer Conversations #6 | Daniel C. Blight: “Slow writing is a form of epistemic protest.”

Writer Conversations #5 | David Campany: “Ambiguity, the openness of the image, can be an anxious problem…”

Writer Conversations #4 | Taous R. Dahmani: “As I’m trying to become another kind of writer, I’m becoming another kind of reader.”

Writer Conversations #3 | Joanna Zylinska: “Photographs and other images form a transparent layer through which we see the world.”

Writer Conversations #2 | David Levi Strauss: “We need to find new ways to talk about important things.”

Writer Conversations #1 | Tina M. Campt: “I want to share a world with others where we have some sense of equivalence.”

Curator Conversations #15 | Renée Mussai: “Do we see enough images of non-white people in positions of power or moments of leisure?”

Curator Conversations #14 | Holly Roussell: “One myth is that everyone who makes an exhibition is a curator. I don’t think making an exhibition is enough to claim to be a curator.”

Curator Conversations #13 | Tom Lovelace: “One does not need a large budget and a beautiful expansive white cube for an exhibition to manifest and become real.”

Curator Conversations #12 | Thyago Nogueira: “The history of art is not always the history of creativity but also a history of economic power and erasure.”

Curator Conversations #11 | Alona Pardo: “I have always found the most torturous scenarios the ones from which I learn the most.”

Curator Conversations #10 | Mariama Attah: “Curators are not gatekeepers or all-seeing eyes.”

Curator Conversations #9 | Kathrin Schönegg: “Not every project is necessarily an exhibit; some function better as a book, a magazine, or an online format.”

Curator Conversations #8 | Charlotte Cotton: “Curating is relational, situational and collaborative. That’s the joy of it for me.”

Curator Conversations #7 | Christine Eyene: “Sometimes there are parameters upon which you have no control due to institutional procedures.”

Curator Conversations #6 | Yining He: “When it comes to the actual practice, you learn on the job more than you do from books.”

Curator Conversations #5 | Roxana Marcoci: “Exhibitions are grounded in asking questions, and in that sense their initial form is investigatory.”

Curator Conversations #4 | Azu Nwagbogu: “In an age when opposing ideas rarely engage due to all sorts of algorithms, curatorial practice has to become all the more dialogical.”

Curator Conversations #3 | Danaé Panchaud: “There is value in seeing bad exhibitions in that they often provide relevant learning opportunities.”

Curator Conversations #2 | Lisa Sutcliffe: “It is not enough simply to add work to the collection, we must also advocate for artists.”

Curator Conversations #1 | Duncan Wooldridge: “We’re all making more and looking at more, but we’re also looking with less detail.”

Victor Burgin

Author of The Camera: Essence and Apparatus

Published by MACK

Jack Latham

Sugar Paper Theories

The Royal Photographic Society, RPS House Bristol

Mark Sealy

Author of Decolonising the Camera: Photography in Racial Time and Director at Autograph ABP

London

Ekow Eshun – Curator

Africa State of Mind

Museum of the African Diaspora, San Francisco

Iris Sikking

Guest Curator of Kraków Photomonth 2018

Amsterdam

Katrina Sluis

Digital Curator at The Photographers’ Gallery and Senior Lecturer

London South Bank University

Dayanita Singh

Artist and winner of The Paris Photo-Aperture Foundation Photobook of the Year Award 2017

New Delhi

David Campany

Writer and Curator of a Handful of Dust

London

Lucy Soutter

Author of Why Art Photography? and Course Leader of MA Photography Arts

University of Westminster, London

Ben Burbridge

Senior Lecturer in Art History

University of Sussex, Brighton

Lesley A. Martin

Publisher at Aperture Foundation

New York

Charlotte Cotton

Curator in Residence at International Center of Photography (ICP)

New York

Francis Hodgson

Professor in the Culture of Photography

University of Brighton

Erik Kessels

Artist and DBPP nominee 2016

Amsterdam

Susan Bright

Curator and Author of Feast for the Eyes: The Story of Food in Photography

Paris

Sean O’Hagan

Photography Critic at The Guardian

London