The first version of Frontera, only consisted in the playback booth. To me it was clearly a rather new kind of time based relational portrait. The characters were recorded wearing their regular cloths, the lighting and framing was carefully controlled, and the long poses reminded of that required for traditional portraits to be made. The expressions in the model’s face were clearly visible and affected the final outcome of the work. However, the new version of Frontera includes a videobooth, this is, a tool for the creation of relational portraits. This tool is open to the public to use as they prefer. I had to give up detailed control of the take due to the automatization of the process. New aspects of the work came to play, and the portraits became self portraits or mirror images. The users could interact with their own representations creating strange scenes where the mirror, a private artifact, becomes public, and digitally mediated. The fearless auto exposure of the users to the device, and the taste for publicizing the own image make me think of a generation shaped with the usage of digital imaging, and social networking tools, and whose members have developed a very particular relation to the multiple digital mirrors they look upon.