One of the many qualities that I admire in the greatest documentary photographers is their tenacity.

It's their unwillingness to take that initial no for the final answer. That reluctance is not due to arrogance,

but rather a sincere desire to tell that particular story. Despite the fact that the editorial

market for documentary work has diminished, these photographers are no less committed than the photographers that came before

them. Yet despite that, they persist and create their work and eventually find an audience.

Glenruga helps facilitate that journey for thousands of photographers through his organization,

the Social Documentary Network.

Since 2008, the website has showcased documentary projects and photographers from all over the world.

Its extensive database, photo contest, and its magazine, Zieg, have become a valuable resource for this special genre of photography.

This is IbarianX and welcome back to The Candid Frame.

Well, Glenn, welcome, welcome to the Candid Frame. I'm glad to have you.

Oh, thank you. It's great to be here. Thanks for inviting me.

I forget how I got turned on to you and the work that you've been doing with the social documentary network and with the Zique.

But I'm glad I did because I really have enjoyed it over the last few years.

I've been thinking about having you as a guest on the show just to help

spread the word for the work that you're doing. So I'm pleased that you agree to it.

I'll appreciate that. I want to go back to your time as a photographer. First off, you were working

in the Balkans as a photographer, even though you work primarily as a graphic designer?

Yeah, that's always where most of my income actually comes through as a graphic design.

The photography has mostly been self-directed documentary work, which, as we know in the

documentary field, it's a hard way to earn a living. So I've always found my graphic design work a better

way to support myself. But tell me about the attraction to documentary photography and in the time that

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