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Be inspired by the photographers on the 2023 List. 2023 PHOTOGRAPHERS © Ypatia Kornarou AARON RUBINO San Francisco UNITED STATES ALESSANDRO GIUGNI Milan ITALY ALEX GOTTFRIED BONDER Buenos Aires, ARGENTINA AMY NEWTON McCONNEL Arizona UNITED STATES ANASTASIYA PENTYUKHINA Moscow RUSSIA ANDREE THORPE Ontario CANADA BARBARA PEACOCK Portland UNITED STATES BRANDEN MAY Atlanta, UNITED STATES DARREN SACKS London UNITED KINGDOM DOUG WINTER California UNITED STATES ELSA ARRAIS Leiria PORTUGAL FABIO CATANZARO Venice ITALY GILES ISBELL Chiang Mai, THAILAND IDA DI PASQUALE Rome ITALY JAN PONNET Antwerp BELGIUM JAYESH KUMAR SHARMA Varanasi INDIA JEFF ROTHSTEIN New York UNITED STATES JUAN BARTE Madrid SPAIN JUAN SOSTRE California UNITED STATES KONRAD HELLFEUER Görlitz GERMANY LEANNE STAPLES New York UNITED STATES MENA SAMBIASI Madrid SPAIN MONIKA JURGA POLAND NAIMA HALL New York UNITED STATES NSIRIES Bologna ITALY

Be inspired by the photographers on the 2025 List. 2025 PHOTOGRAPHERS © Stephanie Duprie Routh ABDULLA SHINOSE CK Malabar INDIA ALEJANDRO DAVILA Pachuca MEXICO ANTON BOU Montreal CANADA AYANAVA SIL Kolkata INDIA BETTY GOH SINGAPORE BUKU SARKAR Paris FRANCE CYNTHIA KARALLA New York UNITED STATES DAVID GRAY New York UNITED STATES EVA MALLIS New York UNITED STATES FANJA HUBERS Utrecht THE NETHERLANDS FUTURE HACKNEY London UNITED KINGDOM GIORDANO SIMONCINI Rome ITALY GUILLERMO FRANCO Córdoba ARGENTINA HIROYUKI ITO New York UNITED STATES JAY HSU Yilan City TAIWAN KAT PUCHOWSKA Barcelona SPAIN LAETITIA HEISLER Berlin GERMANY LUISA MONTAGNA Parma ITALY MASSIMO LUPIDI ITALY MATTEO BERGAMI Bologna ITALY MEERA NERURKAR Düsseldorf GERMANY NASOS KARABELAS Greece ATHENS NICOLA CAPPELLARI Vicenza ITALY PARISA AZADI IRAN & DUBAI PARVATHI KUMAR New Jersey UNITED STATES

Be inspired by the photographers on the 2021 List. 2021 PHOTOGRAPHERS © Meryl Meisler AGATA LO MONACO Gela ITALY ALAN THEXTON Melbourne AUSTRALIA ALEX RUTHERFORD Surrey UNITED KINGDOM ANDRES GONZALEZ Porto PORTUGAL ANDREW ROVENKO Melbourne AUSTRALIA ANDRÉ LOBÃO London UNITED KINGDOM AURÉLIEN BOMY Nantes FRANCE BARRY BOTTOMLEY London UNITED KINGDOM BASTIAN PETER Basel SWITZERLAND BEN ALLAN London UNITED KINGDOM BETTY MANOUSOS Athens GREECE CAMILLE WHEELER Austin UNITED STATES CARLA HENOUD Beirut LEBANON CAROL DRONSFIELD Brooklyn UNITED STATES CHICHEK BAYRAMLY Baku AZERBAIJAN CHRISTINA SIMONS Melbourne AUSTRALIA DAMIEN GORET Brest FRANCE DANIEL GOLDENBERG Buenos Aires ARGENTINA DANIELA PEREIRA Montevideo URUGUAY DANNY JACKSON Essex UNITED KINGDOM DAVID KUGELMAS New Jersey UNITED STATES DAVID LAWLESS Winnipeg CANADA DAVID SHORTLAND London UNITED KINGDOM DREW KELLEY California UNITED STATES EDUARDO ORTIZ Valparaiso CHILE

Be inspired by the photographers on the 2020 List. 2020 PHOTOGRAPHERS © Abbie Briggs ABBIE BRIGGS Madison UNITED STATES ABHAY PATEL Delhi INDIA ABHISHEK SINGH New Delhi INDIA ADAM SINCLAIR Melbourne AUSTRALIA ADESH GAUR Uttar Pradesh INDIA ADRIAN TAN SINGAPORE ADRIAN WHEAR Melbourne AUSTRALIA AHMET HOJAMYRADOV Minsk BELARUS ALEX FRAYNE Adelaide AUSTRALIA ALEXANDRA AVLONITIS Manhattan UNITED STATES ALEXEY STRECHEN Moscow RUSSIA ALICIA HABER Montevideo URAGUAY ANEEKA MANKU Birmingham UNITED KINGDOM ANGEL CARNICER Zaragoza SPAIN ANNA MARCHIOLI Clamart FRANCE ANNETTE LANG Nice FRANCE ANTONIS GIAKOUMAKIS Athens GREECE ANWAR SADAT Nairobi KENYA ARTURO CAÑEDO Lima PERU ASHISH PATEL Delhi INDIA ASSIA STARKE Vienna AUSTRIA ASTRID NEUNDLINGER Vienna AUSTRIA B JANE LEVINE New York City UNITED STATES BELINDA CORNEY London UNITED KINGDOM BENNY VAN DEN BULKE Adegem BELGIUM

Be inspired by the photographers on the 2024 List. 2024 PHOTOGRAPHERS © Anna Tut ALEXANDROS ZILOS Athens GREECE AMY HOROWITZ New York UNITED STATES ANA-MARIA ALB Bukovina ROMANIA ANN PETRUCKEVITCH UNITED KINGDOM ANNA TUT Krasnogorsk City RUSSIA CARMEN SOLANA CIRES Madrid SPAIN CATIA MONTAGNA SCOTLAND/ITALY DASHA DARVAJ UMRIGAR Karachi PAKISTAN DEDIPYA BASAK Kolkata INDIA EDWIN CARUNGAY San Francisco UNITED STATES FRANCE LECLERC Chicago UNITED STATES ISABELLE COORDES Münster GERMANY JOHN KAYACAN Los Angeles UNITED STATES JUSTINE GEORGET Lyon FRANCE MARIETTE PATHY ALLEN New York UNITED STATES MATTHIAS GÖDDE Beckum GERMANY MEI SEVA New York UNITED STATES MIA DEPAOLA Washington D.C UNITED STATES NAZANIN DAVARI Tehran IRAN PAUL COOKLIN UNITED KINGDOM PEDRO VIDAL Barcelona SPAIN RAFA ROJAS São Paulo BRAZIL ROMAIN COUDRIER Marseille FRANCE ROWELL B. TIMOTEO La Union PHILIPPINES SASHA IVANOV St. Petersburg RUSSIA

Be inspired by the photographers on the 2022 List. 2022 PHOTOGRAPHERS © Adrian Pelegrin ADRIAN PELEGRIN Playa del Carmen MEXICO AHSANUL HAQUE FAHIM Dhaka, BANGLADESH AJ BERNSTEIN New York UNITED STATES ANWAR EHTESHAM Dhaka BANGLADESH ASEN GEORGIEV Sofia BULGARIA ASLI GONEN Eskisehir TURKEY BRIAN DOUGLAS Ontario CANADA CAHLEEN HUDSON New Taipei City TAIWAN CHETAN VERMA Gurgaon INDIA DEAN GOLDBERG New York UNITED STATES ELIZABETH PAOLETTI UNITED STATES EMIR SEVIM Istanbul TURKEY EMY MAIKE Baden Württemberg GERMANY FRANCESCA TIBONI Cagliari ITALY GABRIEL MIELES GUZMÁN Guayaquil ECUADOR GABRIELE GENTILE Parma ITALY GIANLUCA MORTAROTTI London UNITED KINGDOM GIORGIO GERARDI Venice ITALY JAN ENKELMANN London UNITED KINGDOM JEAN ROSS New York UNITED STATES JELISA PETERSON Texas UNITED STATES JENS F. KRUSE Mallorca SPAIN JONAS WELTEN Salzburg AUSTRIA LAINE MULLALLY Stockholm SWEDEN LELE BISSOLI Vercelli ITALY

SOCIAL REVOLUTION Ruber Osoria is a Cuban photographer, now living in Southern Chile, far from his home country, where he documents life on the streets. SOCIAL REVOLUTION January 29, 2021 INTERVIEW PHOTOGRAPHY Ruber Osoria INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Ruber Osoria is a Cuban photographer whose remarkable journey has taken him from the vibrant streets of Havana to his current home in the remote corner of southern Chile. Growing up in the countryside of Cuba, Ruber’s early love for photography was sparked by the stories he heard from his grandfather, who was a passionate photographer himself. With the help of his mobile phone, Ruber captured the everyday beauty of his rural home, allowing him to explore the world around him through a lens. It wasn’t until he arrived in Chile that he was lucky enough to get his hands on a used camera, and it was then that he was able to truly hone his craft. His work is now focused on documenting life in the streets and exploring the hidden stories within conflict. Through his lens, Ruber strives to bring attention to the misfortune of humanity, and shows us a unique perspective of what it means to be human. “I started taking photos with an iPhone that an uncle who lives in the United States gave me during one of his trips to Cuba. I would go out with my rectangle in hand and isolate myself far between the embrace of palms and carob beans, I did not know that there was a photography movement and much less that it was considered an art. I just felt good, full, in the climax . And so my friends, artists who graduated from the academies of plastic arts, fell in love with my photography, to the point when I did my first exhibition in my town. Everything was very nice, I fell in love with that social recognition, which gave me my own identity, a unique and exclusive language, and there was the enormous task of learning and educating oneself, difficult for a peasant like me in a country without internet to even see a tutorial. But I had cinema and, most importantly, good friends.” IN CONVERSATION WITH RUBER OSORIA THE PICTORIAL LIST: Ruber, please tell us about yourself. RUBER OSORIA: I was born in eastern Cuba, in a town of Taino heritage, which is subtly penetrated from the back by a wonderful river, which gives the name of Contramaestre to my beloved land, the land of the last mambí, and where the three greatest men in the history of Cuba, Cespedes, Marti and Fidel, washed their bodies in that river. Son of a single, peasant mother, an example of feminism, my mother, without knowing what it was to be a feminist, lived in the town of Maffo, in a wooden house with earthen floor, and 70 percent of the food on our table was produced by my mother's hands, because instead of planting flowers and roses, she planted bananas, corn, beans, an infinite number of things. TPL: How did you get to Chile, being Cuban? What are you doing there? RO: I was born in eastern Cuba. I come from a humble family where the majority of its members, and Cubans in general, perceive the United States as a very civilized country with rich, sophisticated and noble people. It was the perfect destination to migrate to, even more so with all the benefits that we were able to obtain, thanks to the differences between Cuba and the USA, benefits such as the Cuban Adjustment Act or the Wet Feet Act. When those laws were eliminated, Cubans had to rethink a new direction to migrate to, first finding Chile, the paradise of neoliberalism in Latin America. In 2018 I made the decision to migrate to Chile in search of a good job, with the aim of buying my first camera and continuing with this passion that continued to grow every day. I went through 4 countries in less than a month. I was a victim of human trafficking, thirst, hunger and fear. Being in the hands of traffickers, anything unexpected could happen. I finally arrived in Chile as an undocumented migrant. I had never imagined living in Chile, much less working there. It was an impossible dream for a young man like me. Before arriving in Chile, apart from soccer, Neruda's poems, and some emblematic places like the Atacama Desert, I did not know anything about this country. With the money I earned from the first illegal jobs I did, I bought a second-hand camera. It was a Sony A58, my first camera with the kit lenses. Months later it happened that I had to live through a social revolution, so I took a series of photographs entitled *"Chile the other earthquake". *Read THE OTHER EARTHQUAKE through the link at the end of interview. TPL: Where do you find your inspiration? RO: I find my inspiration in literature, in audiobooks, and reviewing a lot of work by other photographers and photography groups. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RO: My favourite photographers are Sergio Larrain, Raúl Cañibano, and Sel Sagama. Sel Sagama is a photographer and friend who has changed the way I look and do my work. He has changed my style by 95%, in terms of the technical as well as the subjective and creative aspects. I photograph with an authorial look and with a message behind it, there is already a working table, it is no longer taking photos just for the sake of taking photos. TPL: Do you have a favourite place to take pictures? RO: The street, conflict, misfortune are my favourite places. But my special place to take photos is the theatre. It is a challenge, it is composing on top of a composition. TPL: With what type of equipment do you do your photographic work? Do you think equipment is important to achieve your vision in your photography? RO: I do my photographic work with a second-hand Sony alpha 58 with the kit lenses, which I bought with months of savings. If I believe that the instrument is a driving motor of a photographer, not in the vision as such, but I believe it is a bridge, where the unreal and the subjective become palpable and solid, such as photography is. TPL: Besides photography, do you have an artistic background? RO: Before discovering this beautiful sensitivity for photography, I was dedicated to the Moorish art of the tablas (a type of drum), and I was the vocalist of a small punk band in my town, also performing for the radio. TPL: Is there a special project you are currently working on and would like to inform us about? RO: I am working on a documentary project about the arrival of baseball in the south central region of Chile, as well as the influence of migrant foreigners in this area. Hopefully I can publish a book. TPL: "When I'm not out taking photos, I (would like)... RO: To be a good lover, a good father, a good companion and to fight the patriarchy. PORTFOLIO read more interviews >>> UNBECOMING Kalliope Amorphous reflects on self-portraiture and feminine representation, revealing a practice shaped by transformation, instinct and the possibilities that emerge when likeness begins to shift. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am passionate about photography as a hobby and artistic expression. I am interested in several genres and I like to experiment with techniques and images. The purpose of this series is to explore long exposure photography. The images obtained with a longer than usual exposure time seek to capture more seconds of the scene. It is a technique that helps to portray the passage of time. These blurred, unfocused images, of different colours and shapes, connote the mixture of emotions and uncertainties that arise from this year of health emergency - Covid 19. The photos also evoke the different ways of perceiving the passage of time in the pandemic. DANIELA PEREIRA I am passionate about photography as a hobby and artistic expression. I am interested in several genres and I like to experiment with techniques and images. The purpose of this series is to explore long exposure photography. The images obtained with a longer than usual exposure time seek to capture more seconds of the scene. It is a technique that helps to portray the passage of time. These blurred, unfocused images, of different colours and shapes, connote the mixture of emotions and uncertainties that arise from this year of health emergency - Covid 19. The photos also evoke the different ways of perceiving the passage of time in the pandemic. LOCATION Montevideo URUGUAY CAMERA/S Canon 77D @DANIELA.PMP FEATURES // Fragments of a Time

LEN IRISH Born In Omaha, Nebraska. I studied photography at the Art Center College of Design. My journey in photography began with still life but quickly moved into portraiture. After moving to New York City black and white portraiture became my predominate focus. The human face becoming my main subject. It was there that I began the years-long privilege of photographing many extraordinary individuals including Mohammad Ali, James Brown, Oprah Winfrey, B.B. King and many others. The subject of my work is now still-life, abstract, and landscape photography. LOCATION Ossining NY UNITED STATES CAMERA/S many WEBSITE https://lenirish.com/ @_LENIRISH FEATURES // The Art of Attention

PICTORIAL STORY INFORMAL REALITIES June 26, 2020 PICTORIAL STORY Photography and story by Claudia Orsetti Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Claudia Orsetti is a globetrotting Italian photographer who has lived and worked in several countries. An architect by training, she has always loved taking pictures. For Claudia photography is the way she can show other people how she sees things. It is also a way of getting to know herself, as her focus shifts over time. She is interested in imprecise moments without expectations, the reality where you think there is nothing more to see. In 2017, Claudia traveled to India and visited two of Mumbai's slum areas. The experience left her deeply impressed. This is her story. In 2017, I had the chance to spend a couple of weeks in India with a group of photographers, travelling through the country. On my way from North to South, I made a very short stop in Mumbai. But somehow that chaotic and fast-growing maddening metropolis fascinated me deeply, even in the little time I spent there. It is a common saying that Mumbai is a beautiful city, but a terrible place. Whether that is true or not...it is definitely a place of extremes. Stray dogs and exotic birds, the largest tropical forest in an urban area, some of the most luxurious and expensive developments in the whole of Asia, and yet 60% of the population live in slums or shanty towns. These contradictions are probably what makes Mumbai so interesting, and definitely what made me curious, especially about the life in the slums, about which I knew little. The idea I had in my mind (and probably most people, due to portrayals in the media and movies) was simple: a dangerous area, consisting of an infinite amount of cramped shacks, with no sanitary system and destitute people. But as Nigerian storyteller Chimamanda Ngozi Adichie said, "a single story can be dangerous: it creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story." So I visited two of those areas: the Mahalaxmi Dhobi Ghat, a huge open-air laundromat where the washers, known as dhobis, work in the open to clean clothes and linens from Mumbai's hotels and hospitals; and Dharavi, one of Asia's largest slums and one of the most densely populated areas in the world. I was hoping to find another story to tell. And I did. MORE THAN MEETS THE EYE At first sight, both Dharavi and the Dhobi Ghat look like a messy stack of tin roofs, squeezed between railways and rising towers, but once you get in, the maze of narrow alleys reveals a totally different and unexpected life. There is, on the one hand, the squalor: both areas have their challenges — they lack a proper water supply, sewage, regular urban infrastructure of any sort; they have limited access to toilets, activities and educational programs (although Dharavi has one of the best-educated slums populations). On the other hand, as soon as you go beyond your very first impressions and forget about the smells and the flies, you start discovering that Dharavi has become a fully functioning circular economy, with over 5000 businesses and 15,000 single-room factories, many of which focus on sorting waste and recycling, with an estimated turnover of 1 billion dollars. Harvard Business School used it as a case study. We were shown around by a young man. The 13th Compound is at the heart of Dharavi's recycling industry, where an estimated 80% of Mumbai’s plastic waste is delivered by an informal network of waste pickers, sorted, melted and transformed into reusable chips. Needless to say, the working environment is extremely hazardous and unsafe, toxic sludge flows down alleyways and child labour is widespread. This is a parallel economy, an informal one that compliments and sometimes substitutes for the formal one. In the words of Eswar Prasad, a leading Indian economist, “Economic opportunity in India still lies, to a large extent, in urban areas. The problem is that the government hasn’t provided easy channels to be employed in the formal sector. So the informal sector is where the activity lies.” So, although Dharavi may not be considered visually beautiful, and can be seen as a symbol of raw inequality that embodies the failure of the government, to accommodate the millions of rural migrants searching for an opportunity in Mumbai. It is also a hub of creativity and a vibrant society with a very strong sense of community. One should obviously not romanticise life in a slum, but it is useful to remember that people come to Dharavi voluntarily because Dharavi represents an opportunity for them. It was once known as a very dangerous place, but nowadays the police say the crime rate is low, lower than in many other areas of Mumbai, and although there appears to be misery all around to a foreign eye, people here do not speak about being poor, they speak proudly of their work and about getting ahead. There is an interlaced system of layers of poverty, work, politics, and hope, in Dharavi, and when exposed those layers reveal something far more complicated and organic than the superficial aspect of a slum. It is a society within a society. They say it is a mini-India. THE GIANT LAUNDROMAT Dhobi Ghat is different, although it can similarly be thought of as a city within a city, occupying 60,000 square metres near Mahalaxmi train station. I found myself within a maze of rows and rows of wash pens, hanging clothes, ladders and walls of corrugated metal, which create a labyrinth of light and shadows, pervaded by an intense smell of soap. This giant laundry facility was created in the late 19th century, when the British colonialists built approximately 730 washing pens and flogging stones and allotted them to dhobis (washer men) to wash their uniforms in the open air. Today it turns over approximately 15 million dollars per year, and it is estimated that half a million pieces of clothing are washed here, every day. The Mumbai Municipal Corporation officially owns the land and charges the dhobis something like $5 a month for renting the washing pens and for their maintenance. Everybody has their own set of clients. The majority are hospitals, gyms, restaurants and hotels, but there are also a good number of laundry businesses in town which are subcontracting their work to the Ghat, and many private households who have their dhobi bag picked up by a dhobi man up in the morning for laundering. Like in Dharavi, there are different layers within the Ghat, which are physically split in sections: the ground level is flogging stones and hand work, where the clothes are soaked then thrashed repeatedly on the stone before being boiled and hung out to dry. Some workers spend most of their day knee-deep in the water. But when you go up a floor, you can see the big washing machines. The top floor is the drying area, and it is amazing to see all the ladders everywhere interconnecting the levels. The Ghat is in fact a huge three-dimensional maze. From the top of some of these shacks I could see the towers of drying clothes against the high-rises of the skyline of Mumbai, that was quite something...walking around the Ghat really made me feel as if I were moving in a parallel reality, a village with its own rules and its own life. It can be a very lucrative business and the beauty of it is that most dhobis don’t compete because there is enough work for everybody. Nonetheless it is not an easy life. A typical day starts at 4 am, when they bring the clothes from everywhere around Mumbai and start soaking them in water. The first break is for breakfast, around 8:30 am, a communal moment when everybody gets together and shares food. Around 11 am they have to start drying the clothes because the sun becomes harsher as the day progresses, and they can then rest while the clothes are drying. Around 3 or 4 pm the launderers start the business of ironing, folding, and delivering the clean laundry back to its owner. The more they work, the more they earn, so it is not unheard of for the dhobis to work up to 20 hours a day. They pass down their business from generation to generation, and the area is also home to between 200 and 500 families who reside in the adjacent shacks. Although the houses are no larger than a room, most of them are kept clean and decent. The dhobis are proud of their work and their family heritage, but they are also very conscious that their children need education and might want to pursue another road in life. The majority of the children do go to school. When I spoke with them they told me of big dreams, being an engineer or moving abroad to study. The shacks are considered hazardous, and recently the government decided to demolish some of them, evicting a number of families. The land prices in the Ghat are very high, as it is in a prominent area of Mumbai, so developers have long been making plans for its redevelopment. The same holds for Dharavi: several development plans have been discussed, and it now seems now that they are close to awarding the tender contract for a project to start. © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti © Claudia Orsetti I agree that governments should be able to upgrade the living and working conditions to a basic acceptable level, but they should be equally careful not to get rid of the existing micro-societies and economies in these places. They are hugely important in India, and they contribute essentially to a formal system that is not fully equipped to cope with the country's needs. There is another angle to these informal societies, which are far more complex and dignified than people generally imagine. They are providing work and giving people some hope. This is another story that I want to add to the generic stereotype of the slum. view Claudia's portfolio Read an interview with Claudia >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> TRANSPARENT Memory, grief and the family archive converge in William Josephs Radford’s work, questioning how photographs shape what we remember and what remains after someone is gone. KOLKATA MONSOON For more than a decade, Abir Choudhury has spent the rains outdoors in Kolkata, photographing what four months of water does to the city he grew up in. THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival.

My passion for photography has been with me for as long as I can remember, shaping my creative journey and driving my exploration of visual storytelling. My primary focus is on product photography, event photography, and documentary work, where I aim to capture the essence of moments and objects in a compelling way. In addition to photography, I am deeply inspired by graphic design, and I find that this influence often feeds into my photographic approach. I am always eager to push boundaries, experiment with new ideas, and learn from each experience. Creativity fuels everything I do, and I’m constantly searching for innovative ways to express my vision. CARMEN SOLANA CIRES My passion for photography has been with me for as long as I can remember, shaping my creative journey and driving my exploration of visual storytelling. My primary focus is on product photography, event photography, and documentary work, where I aim to capture the essence of moments and objects in a compelling way. In addition to photography, I am deeply inspired by graphic design, and I find that this influence often feeds into my photographic approach. I am always eager to push boundaries, experiment with new ideas, and learn from each experience. Creativity fuels everything I do, and I’m constantly searching for innovative ways to express my vision. LOCATION Madrid SPAIN CAMERA/S Nikon D5600 WEBSITE https://carmensolanacires.myportfolio.com/work @CARMENSOLANA.JPG FEATURES // Through My First Lens

PICTORIAL STORY MOMMIE A heartfelt tribute to the strength of family across three generations of women, capturing the timeless threads of love, loss, and resilience that bind them together. May 12, 2024 PICTORIAL STORY IN MEMORY OF ARLENE GOTTFRIED 1950-2017 photography ARLENE GOTTFRIED story ARLENE GOTTFRIED introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The Pictorial List is honored to present to you a gift for Mother’s Day from the archives of late photographer Arlene Gottfried. Arlene Gottfried is not only one of the most profound photographers of their time, but a testament to the unconditional love and devotion she shared with her family. For generations, the women of her family were strong role models and the matriarchs of the family. They were her strength, wisdom, mentoring her and supporting her, while simply loving her. Arlene captured the essence of New York City’s vibrant tapestry throughout her adult life through her photography. Brilliant visual storyteller, Arlene was born in Brooklyn in 1950. Arlene’s work resonates with authenticity, empathy, and a keen eye for the human experience. Her photography spans decades, reflecting the city’s evolution and the diverse lives that inhabit its streets. With a unique blend of humor, warmth, and candidness, Arlene’s images offer glimpses into the lives of everyday people, often marginalized or overlooked, yet pulsating with vitality and resilience. She immortalized the raw beauty and undeniable charm of New York’s neighborhoods, portraying moments of joy, sorrow, celebration, and solitude with equal reverence. Arlene’s legacy as a photographer is defined not only by her technical prowess but also by her unwavering dedication to capturing the heart and soul of the city and its inhabitants. Mommie , a book Arlene carefully created and published with Powerhouse Books , offers a compelling glimpse into the intimate world of motherhood through the lens of a gifted photographer. In this captivating collection, Arlene invites readers to embark on a visual journey that celebrates the complexity, tenderness, and resilience of maternal love. She was an observer, seeing all the intricacies in different personalities while understanding the dynamics this can bring to relationships. Arlene never imposed herself into the photograph, she was a quiet listener, retaining the important visuals to depict the true story. Arlene captures the ordinary moments that shape the extraordinary bond between mothers and their children. Each photograph is a poignant reflection of the joys, challenges, strengths, weaknesses, reflecting the timeless beauty found within the realm of motherhood. She invites us to explore the universal experiences of nurturing, sacrifice, and unbreakable familial ties, creating a timeless homage to the profound and enduring role of mothers in our lives. Mommie is not just a book of photographs, but a heartfelt tribute to the essence of motherhood in all its raw and unfiltered glory. Arlene’s portrayal of her family through photography reflects the bond and shared experiences they cherished. Karen, Arlene’s sister, was a source of inspiration and support, playing an integral role in Arlene's artistic journey, influencing her perspective and contributing to the rich volumes of visual stories depicted in her photographs. Often, they navigated the busy streets of the city, finding beauty in the everyday moments that unfolded before them. Their sisterly connection and the colorful tapestry of New York City were immortalized through Arlene’s photography, leaving behind a legacy of artistry and sisterhood that continues to resonate with audiences worldwide. EXCERPT FROM “MOMMIE” (Pages 18-22) To my Dear Mother Lillian Gottfried Grandmother Minnie Zimmerman Sister Karen Gottfried I never really had a project and then went out to photograph for it, except for the gospel. But I started photographing my family in my early days of photography and I would photograph at different times or different occasions, just the way I still pretty much do it. Casual. It wasn't anything planned out. The photographs in this book go back to 1972, when I took a picture of my grandmother. I think that's about when it began. The picture of my father was taken in ‘72, I would say, and it’s the only color picture I have of him. My family was something I photographed, but not with the consciousness that this was a project of mine. I would see things and maybe I would take a photograph. We would meet at my sister Karen’s house for dinner and I’d take a picture over there, if something special were happening. Then as my mother and grandmother started to get older, I began photographing them more, as it was a way of documenting their aging and getting near the finality of life. One time I remember my mother got into a bad mood. She had diabetes pretty severely. It affected her vision and her stamina. And she used to get a little angry. But a lot of the time I would have the camera or bring it over to my sister’s house. If we were eating there or if we were going to visit my grandmother, I would take it. And when they were getting older and I thought things would change drastically, I left a camera at my mother’s house. I would have it there if I didn't feel like carrying it and I could still take some pictures of her. Photographing my mother as she was dying was very hard. I guess that was the only way I could cope with it and kind of hold on to her as much as I could at that time. That was extremely difficult. She became very ill and she got sent through different hospitals and nursing homes and back to the hospital again. Back and forth and back and forth. I felt so bad for her, being shuttled around like that and being ill. I don’t know how to describe it myself but I know it was something so important and so heartfelt and upsetting that I had to capture it. It was very hard to deal with her illness and watching her getting worse. It still hurts to look at the photos. It means a lot to me when people pay attention to the work. They have to be brave enough to feel the feelings. I think it’s a story that most everyone experiences: Losing your parents. The nice touch is my sister giving birth at the end. You think the story is over, but it continues. My grandmother was a traveler. (laughs) She got around until she couldn't anymore. Even when she couldn't get around anymore, in her retirement home, she’d say “Let's go outside.” It could be bitterly cold and she would go out, and if we did’'t have a pass, we would sneak around to the hospital side where there was a stairway. She was over 100 at this point and she would walk. I would help her go down the steps. Then I’d take the wheelchair down and we’d go out. She wanted to get out of that atmosphere and she wanted to get into the air. She was always like that when she came to visit us. We’d go to the Botanical Gardens or something. She wasn't about sitting inside for very long. She liked to go out and move around and my mother said to me once, “You're like Bubbie.” Because I can’t stand staying locked up inside. (laughs) When my grandmother died, it was a sad day, even though she was 104 years old. It was a quiet day in the kitchen when we all met to wait for the car to go to the funeral. That’s what I remember very intensely. She was a great part of our lives. Her mind was sharp on her last day so it wasn’t a sad situation like that. My mother actually said about her, that she lived till she died, which was true. My grandmother had gone with members of the senior home where she lived to the planetarium the day before she passed on. So I thought she went to that sky, in the universe. She loved life. She wanted to be part of things. She was very aware of what was going on. She read her forward every day, you know, the Jewish newspaper. She wasn’t someone to just fade into the woodwork. Mommie has been germinating in me for a while. It changed when my sister gave birth to my nephew, as that kind of extended the story. I always think things are happening at the right time when they happen. I couldn’t have done it sooner, this was the right time. I showed the last maquette to my sister. She was very quiet. She looked at every picture and then she said that she can’t get it out of her head. That’s all she said about it. I know it was intense for her to look at it. I am sure my mother would have had some things to say about showing her so ill. I am not really sure what they would say about it. Generally speaking, my mother was proud of the work I did. She would ask me questions and keep reminding me about things I was supposed to do. My mom was the agent I never had. Not forceful though. She was very supportive in her way and I miss that. I feel their energies, not just for the book, but I feel them every once in a while, their presence. I think they gave me a lot of creativity in a lot of different ways. When I think back, my grandmother on my father’s side was a singer. Not a professional singer, but they would say she would always sing and be very warm hearted at gatherings. (laughs) I think, “Oh, look at that, she loved to sing. Just like me.” My mother called me “the singing photographer.” There was always humor with my family, a lot of humor from a lot of different people. When I think of family I think of humor and I think of my grandmother sewing and cooking and her creativity. My mother was an intellectual in a way. She went to college at a time when women didn't go to college. I think all of this was funneled into me. It is my inheritance. “Mommie” book, by Arlene Gottfried published by powerHouse Books. “I have been photographing the three generations of women in my family - my grandmother, mother and sister - consistently since I began more than 40 years ago. This documentation of my family grew stronger as I got older and saw time passing, my mother's diabetes worsening, and my grandmother approaching 104 years of age. It was time to concentrate on them the only way I knew how, which was with a camera.” © Arlene Gottfried “Karen Eating Crayfish” © Arlene Gottfried “The only color photograph ever taken of my father, in my early days of doing photography. He passed away at 66 years of age.” © Arlene Gottfried “My sister Karen at the Brooklyn Botanical Gardens.” © Arlene Gottfried © Arlene Gottfried “Mommie and Bubbie at East 14th street. As always saying goodbye, then kissing on the lips.” © Arlene Gottfried © Arlene Gottfried “Mommie Laughing on Balcony” © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried “My grandmother taught herself to read English, worked as a hand worker in a factory from a very early age, protested for workers' rights, and made all her beautiful, unique fashions herself. She always knitted sweaters for ger grandchildren.” © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried “After a dinner at my house, getting ready to walk to the bus stop in the dark.” © Arlene Gottfried “One day Mommie was on the phone, when she put down the phone for a second to yell at me, "Stop taking so many pictures! Man Ray only took a few!” © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried © Arlene Gottfried “Mommie Pushing Bubbie” © Arlene Gottfried “On July 1, 2000, my grandmother, Minnie Zimmerman, passed from this world. She was 104 years of age, and in full possession of her mind, intelligence, and wisdom.” © Arlene Gottfried “My mother was my friend and the rock I leaned upon. Even as a grown woman, I asked her opinion about everything, turned to her for laughter, and confided in her.” © Arlene Gottfried © Arlene Gottfried “My sister decided this was not to be the ending and became a mother, having a child later in life.” © Arlene Gottfried © Arlene Gottfried Arlene Gottfried’s poignant exploration of motherhood in Mommie is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. Through her photography, she immortalizes the ordinary moments that shape extraordinary relationships, capturing the essence of maternal love with authenticity and empathy. Arlene not only recorded but captured her family’s experiences, from the joyful moments to the heartbreaking ones, reflecting the richness of human connection and the complexities of life as we age. Her ability to capture the raw emotions and intimate moments of her loved ones, even in the face of illness and loss, speaks to the power of photography as a means of both coping with while cherishing life’s most profound moments. As Arlene reflects on her family’s legacy of creativity, humor, and resilience, she acknowledges the profound influence they have had on her own artistic journey. Through her photographs, she not only pays tribute to her family but also carries forward their legacy, infusing her work with their spirit and energy. In Mommie , Arlene invites us to celebrate the timeless beauty of motherhood and the enduring bonds of family, reminding us of the importance of cherishing every moment and honoring the legacies that shape who we are. Arlene’s family extended beyond the women, they were loved and guided by their father and shared a very close relationship with their brother comedian Gilbert Gottfried, who passed away not long after Arlene. Mommie was dedicated to the women of the family, but the men also were cherished and deeply loved. It was a genuine family bond they all shared and carried with them until their death. Karen, the living survivor of their immediate family, along with Gilbert’s wife, Dara have their own children to pass these values down to, sharing the significance of commitment to family. As single mothers Karen and Dara have a wealth of memories to rely on for wisdom. Arlene, Karen, and Gilbert were truly gifted the understanding of family values lovingly passed down by the good hearts and souls of their mother and grandmother. The sisterhood of motherhood is the resilient common thread that unifies and strengthens the bond for all mothers everywhere, each and every day. Arlene's body of work reflects a deep engagement with New York City’s diverse cultures and communities. From her documentation of Puerto Rican culture in Bacalaitos and Fireworks to her exploration of schizophrenia in Midnight and her portrayal of gospel choirs in The Eternal Light , her photographs offer intimate glimpses into the lives of her subjects. Her ability to capture the essence of her subjects has earned her international recognition, with exhibitions in various countries and her photographs being included in prestigious collections such as The Brooklyn Museum of Art and The Museum of Fine Arts in Houston. Additionally, her photojournalistic work has graced the pages of numerous publications, showcasing her talent for storytelling through images. Living in New York City and its boroughs, Arlene’s surroundings undoubtedly provided endless inspiration for her work, but her real ability to document life with genuine authenticity comes from her deep roots in her family. Her passion for photography is evident in her dedication to family and diligence to visual storytelling in its truest form, capturing the vibrancy of the city and all its inhabitants. Arlene’s surviving family, Karen Gottfried, and her sister-in-law Dara Gottfried are doing their best to care for Arlene’s treasures. Karen cares for her family photos, and memorabilia and helps to keep her sister’s photography alive through social media. Dara has begun safely organizing, documenting and archiving Arlene’s extensive library of negatives, Cibachromes, Kodachromes, as well as countless photo paper boxes filled with beautiful analog prints. This is a tremendous amount of work, and a daunting task for any family. One reality we as photographers we all have to face, that day of reckoning. It is important to think about and prepare for. Richard Wexler, original founder of The Arlene Gottfried Legacy Project , an offshoot of the Vintage Annals Archive , began around 2013-14 with a simple aim: to showcase and promote Arlene’s remarkable body of work on Instagram. Over time, it evolved into a multifaceted endeavor, including a dedicated webpage, presentations, and now a three-part podcast series, spearheaded by a collaboration between the project founder and Karen Gottfried. Through interviews with key figures and consistent social media updates, the project aims to honor Arlene’s legacy and preserve her contributions to photography. For further engagement, audiences can follow the project on Instagram and listen to the podcast series. A story like this takes many contributions, considerable effort from numerous people, all working together to share the memories and visual stories Arlene has gifted to us. We feel honored to share with our readers her exceptional photographic journey as she witnessed and defined the world around her. The Pictorial List thanks Karen and Dara Gottfried, and their families, for allowing us to experience Arlene in such a real and touching way. Spending time in her archives, visiting the family, looking through her photographs, holding her cameras, made me feel her presence at times. It was a gift for me to experience such a brilliant photographer with such a personal hands-on exposure to their work. We thank Daniel Power, from Powerhouse Books , for sharing the intimacy of Arlene's family through her photography, allowing us to share their brilliant publication of the Mommie book, by Arlene Gottfried. If there is one thing that is evident with absolutely everyone I have spoken with, the genuine kind and generous person Arlene was, and how she touched people and created a lifelong connection and bond, that translates beyond her death, carrying her authentic inciteful photography into the future. Finally, we thank Arlene for sharing the intimacy of the relationships between the women in her family through her book, Mommie . What an inspirational read on Mother’s Day. We are reminded of the strength and value of the commitment to family, for richer, for poorer, in sickness and in health, as long as we all shall live. The vows transcend marriage and are the very family values we raise our families with. Happy Mother’s Day to all mother’s, each and every day of the year! In loving Memory of the Gottfried family - Minnie Zimmerman | September 15, 1896 - July 1, 2000 Max Gottfried | May 18, 1909 - September 11, 1975 Lillian Gottfried | April 13, 1919 - January 7, 2002 Arlene Gottfried | August 26, 1950 - August 8, 2017 Gilbert Jeremy Gottfried | February 28, 1955 - April 12, 2022 view Arlene Gottfried's website IMPORTANT LINKS Simon and Schuster site to purchase "Mommie" book >>> powerHouse Books >> Richard Wexler has compiled a lot of articles and resources that can be found here >>> Arlene Gottfried Legacy Project >>> Instagram >> Arlene Gottfried Podcast Series >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> TRANSPARENT Memory, grief and the family archive converge in William Josephs Radford’s work, questioning how photographs shape what we remember and what remains after someone is gone. KOLKATA MONSOON For more than a decade, Abir Choudhury has spent the rains outdoors in Kolkata, photographing what four months of water does to the city he grew up in. THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. 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WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival.