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

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 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 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

The Pictorial List is a global online magazine exploring the beauty and complexity of all things photography. 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. Latest features PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. INTERVIEW THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. BOOK TÜRKIYE Rpnunyez offers a thoughtful portrait of a country shaped by history, culture, landscape, architecture, and everyday life. BOOK BETWEEN SEA AND SKY Through walking and flight, Massimo Lupidi reveals Cinque Terre as a landscape shaped by attention, endurance, and the intimate bond between land and human life. INTERVIEW 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. INTERVIEW THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. PICTORIAL STORY 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. INTERVIEW 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. PICTORIAL STORY COLORS OF HUZUN 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. AUGUST ART SERIES PICTORIAL FOUNDATION FILM FEST August 8 & Repeat Screening on August 9 Preshow drinks & treats @ 7pm | screening begins @ 8pm The Pictorial Foundation Film Festival brings together a curated selection of documentary, experimental, performance, animation, and artist films. Presented within our ArtSpace, the program explores the moving image as a site of artistic inquiry, visual storytelling, and shared experience. Join us for two evenings of contemporary cinematic practice. BUY TICKETS The Foster Portfolio (2017), film still. Courtesy of Danielle Katvan. © Danielle Katvan WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. New York, New York! PICTORIAL STORY NYC SUBWAY RIDERS BEFORE THE INVASTION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy. INTERVIEW FABRIC OF NEW YORK VISUALS Elle Clarke lives NYC — snapping its heart and hustle with her smartphone, one real city moment at a time! INTERVIEW NOD OF RECOGNITION B Jane Levine’s portraits give a playful wink — inviting a nod of recognition to the hidden stories we all carry inside. INTERVIEW NEW YORK IMPROVISATIONS Fast-moving, off-kilter, witty, raw and classic film noir define Bill Lacey's photography. PICTORIAL STORY MERMAID MAGIC AJ Bernstein captures the magic of the Mermaid Parade—where fantasy, freedom, and community come together in a sea of color and joy. INTERVIEW GOTHAM MEMORIES Jeff Rothstein clicks, time unfolds — capturing the heart of the city in timeless frames, from 1969 to today. PICTORIAL STORY TAKING THE PLUNGE Carol Dronsfield takes the plunge with the Coney Island’s Polar Bears, capturing the chill, the thrill, and the heart. INTERVIEW THE AUTHENTIC GAZE Amy Horowitz says “Don’t Smile”— and in doing so, captures the real and wonderfully unscripted faces of New York City. VOLUME ONE- NEW YORK BUY NOW join the Pictorial Community >>> Follow us on Instagram #thepictoriallist @thepictorial.list Load More 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. Interviews you may have missed REPRESENTING THE PEOPLE Camille J. Wheeler documents Austin's streets, with a particular focus on its homeless community. COMEDIANS Steve Best documents the British comedy scene, backstage and on stage, the highs and lows, and the joy of being a comedian. QUARANTINE IN QUEENS Neil Kramer's humorous and compassionate lockdown diary has gone viral. ENROUTE TO THE PINES Robert Sherman shares his documentary series about drag queens celebrating the 'Invasion of the Pines'. SERVICE INTERRUPTION Wojciech Karlinski documented Poland train stations during the pandemic, highlighting their formal and aesthetic side. VOICES OF THE NILE Voices of the Nile by Bastien Massa and Arthur Larie is a project documenting the relationship of Ethiopians with the Blue Nile. BREAKS FROM REALITY The magic only dreams are made of become reality for viewers as they engage in the poetic imagery of Mariëtte Aernoudts. BEYOND THE STORY Through her documentary photography, Christina Simons is compelled to tell the stories of those who are unable to do so themselves. © Russell Cobb Media Partners

EIGHT HOURS Enzo Crispino gives a nostalgic imprint to his project to help us imagine that the metalworking company is no longer operational. EIGHT HOURS February 15, 2021 INTERVIEW PHOTOGRAPHY Enzo Crispino INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Enzo Crispino is an acclaimed artist and interpreter of photography who defies conventional definitions of what a photographer is. Born in Frattamaggiore, a small town in the South of Italy, Enzo has been recognised for artistic merit by the International Academy of Modern Art in Rome and has been awarded the Diploma al Merito in Art by the Accademia di Significazione Poesia e Arte Contemporanea. His work has been widely published in esteemed magazines, and he has had two books published. His latest project 'Eight Hours' explores the human experience through a series of stunning photographs. As the world continues to evolve and technology advances, so do the ways in which work is performed and completed. From the introduction of automated processes to the mass transfer of production, the workforce has experienced a dramatic shift, with a significant reduction in role and increase in job losses. Through 'Eight Hours' project, Enzo seeks to commemorate and remember this ever-changing industry, creating nostalgic scenes of a once bustling metalworking company that has since been transformed into an exhibition space. His aim is to capture the memories of this type of work and provide visitors with a glimpse into the history of a place that was once full of life. Through the use of carefully chosen tones, Enzo hopes to evoke a sense of melancholic beauty, allowing visitors to connect with the past and recognize the impact that advancements in technology have had on the workforce. Through his art, Enzo invites us to discover the world around us through a unique and captivating perspective. “It was important for me to emphasise the enormous loss of skills created in these small engineering companies, which were very widespread in northern Italy where these manual skills were fundamental, while today with the digitization and robotization of the industrial process they are no longer needed. In this way we will lose forever the great training school of the mechanical engineering world. My intention is to induce all of us to question ourselves about the negative effects that globalisation inevitably brings with its relentless pursuit of profit as an absolute goal. Cultural roots and memory make us emerge for our place, our history and cultural diversification, are a heritage and a wealth that people of every place cannot afford to lose, beyond which there is only homologation.” IN CONVERSATION WITH ENZO CRISPINO THE PICTORIAL LIST: Enzo you have shared with us your special documentary project EIGHT HOURS. What is this about? ENZO CRISPINO: These fifteen photos are part of a project with the same name composed of eighty five images, which I realized in the small metalworking company where I have been working for 22 years as a turner on machine tools. The 'Eight Hours' project that I present is inspired by an idea based on two considerations: the massive transfer of production and the increasing automation of all processes in the sector that have had a strong impact on the workforce employed, both eliminating it and reducing its role. In this project I wanted to give a nostalgic imprint, using tones that would help me to imagine this metalworking company no longer operational, but only as an exhibition space; its ultimate utility function. Ample spaces are offered to visitors, where its previous appearance is shown, leaving these spaces now destined to cultivate 'memory'. TPL: The negative impact of globalisation has thrown uncertainty over our smaller industries worldwide. You personally are being impacted. What would you like the viewer to experience when they see these images? What would you like for them to take away from this? What did this project reveal about yourself? EC: When I decided to create the photographic project “Otto Ore” (Eight Hours) I posed many questions, the prevailing one was whether it would be useful to produce it. In those photos I brought a small reality out of the context of the world of metalworking, unknown to most people, made of old machinery and tools whose use is not familiar to everybody. Certainly I would not have produced anything original, since photographs and books on the world of work and industrial architecture have existed for a long time, a masterful example is the reportage on Pittsburg that the American photographer W. Eugene Smith did for Magnum in 1955, or the important research of the German couple Bernd and Hilla Becher. Nevertheless I wanted to talk about 'my' world of work, a daily school that teaches us to know and love what work is and to discover that there is also the culture of work. That culture made of territorial identity of the world of work that unfortunately we are losing with the advent of the new dogma of 'globalisation' in the 2000s. In these photos, where I have taken pictures of details of machine tools that I use every day, I wanted to connote it with a choice of a particular chromatism that would induce a nostalgic sense, even to those who observe them and are not familiar with this small but important world of work. I think that a small result has been to draw attention to such a particular subject. An Italian publisher decided to make it into an editorial project by publishing a book with the same title. The project has also received the attention of several photo magazines in Italy, France, Spain, Germany, Austria, England, and Australia, plus a personal exhibition of three months in my home town during the 13th edition of the Festival of Photography and Fotografia Europea 2019 Reggio Emilia, sponsored by the same municipal body. TPL: You do not consider yourself a photographer but an interpreter of photography? Can you explain what you mean? EC: In the beginning, photography was just a simple hobby for me, I didn't pose any questions, I just took pictures because I liked what I saw and it attracted my attention. As time went by, this hobby turned into something more important that stimulated me to go deeper. I felt the need to fill my gaps in photographic technique, but even after this study I was still dissatisfied. I didn't feel the photos I took were mine, I perceived them as anonymous, cold images, far from me without a personal identification. By reading books on photography I decided to study chromaticism and how to interpret it differently in photography. In one of them, a book by one of the great masters of Italian photography, Luigi Ghirri, the author described what photography was for him. He said, "Photography is not pure duplication or a chronometer of the eye that stops the physical world, but it is also a language in which the difference between reproduction and interpretation, no matter how subtle, exists and gives rise to an infinity of imaginary worlds." It was revelatory for me, it was the answer to my continuous dissatisfaction, his thought gave me the way to understand that photography has different languages. Taking a picture is not only to freeze forever a moment, but in it we have the possibility to transfer any emotion, feeling, or mood, artistically reinterpreting that moment with our own sensitivity and making it unique, so it will never be just a photograph as an end in itself. TPL: When did you first discover your love for photography? EC: My encounter with photography was completely accidental, during a driving vacation to England in the summer of 1990. At that time I had bought a compact Ricoh camera without any ambition but only to bring home some memories. During the vacation I remember the moment when we were in Avebury visiting the Stone Circle, I asked a friend if he would let me see through the viewfinder of his Minolta Reflex camera the scenario in which we were immersed and I clearly remember the huge wonder I felt. At the end of the vacation I decided to get started with the hobby of photography by buying my first low-cost reflex camera, a Canon 1000. TPL: In general, your photography feels incredibly personal, focusing on storytelling and pulling the viewer into your inner thoughts. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? EC: I have been asked this question many times on other occasions and this has always been a reason for me to feel embarrassed; I am afraid of appearing inappropriate, of giving a presumptuous image of myself. I don't intentionally seek to create an intimate photograph: it is a natural inclination deriving from the fascination I have for poetry. When I visit certain places (e.g. the interior of a house or a beach), before taking the photos, my eyes observe and are guided by the verses I have in my mind to build the new project, and the photos come by themselves, without ever looking for the perfect photo. I have never been interested in producing a perfect shot. I've always been looking for one thing only, namely that photography should give me an emotion even in its imperfection. That same imperfection which has always been present in my photographs. TPL: Where do you find your inspiration? EC: In 2015 I had to take a pause for reflection, unable to take pictures anymore, and feeling the need for a change, something giving me new life in taking up the camera again. While preparing my first photographic project, I realized that I needed something giving it some 'consistency' to avoid building up a simple sequence of images as an end in itself, even if well structured. I then recalled a poem by the Italian poet Giuseppe Ungaretti entitled 'Wake' that I had studied at school. I associated my photos with the verses and realized that they fit together perfectly. Since then, in each of my new projects I try (but do not always succeed) to blend poetry and photography together. I think that conceptual photography inspired by a poem, or a free excerpt of some verses, gives more depth to the work itself. This analysis process fascinates me, and I need it to find the answers I am looking for. Photography can also be not merely a matter of photos, but an association of two fields combined to create something new. Poetry has since then become my first inspiration in thinking and preparing photographic projects. Like many others, I have my favourite poets from whom I take inspiration: Alda Merini, Giuseppe Ungaretti, Pier Paolo Pasolini, Pablo Neruda, Gabriele D' Annunzio. For some time I had been trying to find my own way in color, something in which I could recognize myself, and I found it in the dominant yellow that I wanted to always be perceptible in my photos. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? EC: I have never thought that a camera could give a particular contribution to the vision in photography and I have never chosen an SLR camera just for its brand. On the contrary, I've always had a strong curiosity in photography. It has made me realise that if you don't have photography in your mind first, you will never have it in your eyes. I've never been attracted by special techniques in taking pictures or preference of focal lengths. Depending on the situation I've always set the one I thought was most suitable. I have been photographing for seven years with a mirrorless Olympus E-M1 and always with a single lens mounted, the Olympus Pro 12-40mm f2.8. TPL: When you go out to photograph, do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both? EC: The concept that I want to transpose into images since I began to produce photographic projects is already present in my mind when I take a picture. Later on when I am on a site, I let myself be moved by my state of mind in that moment and I interpret the original concept that I had in mind. Only this way I can create a photograph that is as personal and true as I seek it to be. TPL: Have you ever been involved in the creative world before photography? EC: I've always been fascinated by art, visiting exhibitions and museums. Thanks to my passion for photography, this has given me a further opportunity to learn it more thoroughly, relating with many artists during the participation in collective national and international exhibitions representing a fruitful and important cultural exchange. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? EC: My goal is to have the chance to continue to be moved by photography more and more. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EC: For some time now I have been studying a French photographer from the past. Two of his books on the city of Paris fascinate me particularly, his name is Eugene Atget. I'm working on two projects inspired by his style, the first is on Paris, I have tried to translate his evocative atmospheres in a modern urban context where presence of man is pretty inexistent, giving a stylishly vintage yet elegant connotation. TPL: When I am not out photographing, I (like to)… EC: I love reading, a way for me to relax my head from worries, I prefer historical novels and books of poetry. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> 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. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation.

THE EXTRAORDINARY ORDINARY Marci Lindsay is drawn to ordinary people doing ordinary things. To her, it is all extraordinary and hopes her photos remind people of that. THE EXTRAORDINARY ORDINARY August 2, 2021 INTERVIEW PHOTOGRAPHY Marci Lindsay INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Street photography is an art form that celebrates the beauty of everyday life. Marci Lindsay's photographs capture the essence of this in a unique and timeless way. Her eye for emotion, expression, connection and humour allows us to see the world in a new and different light. By looking at the world through a street photographer's lens, Marci is able to appreciate life in all its complexity and joy. Marci’s love for street photography began at a young age, but it wasn’t until 2017 that she went all in and started taking her passion seriously. Since then, her work has been exhibited in major cities around the world, and she has become a part of the Women in Street Collective, the DC Street Photography Collective and the Optic Nerve Collective, all dedicated to promoting street photography. In this interview, Marci shares her story and experience of street photography, and what it means to her. From discovering new streets with her camera to the joys of capturing everyday life, Marci lays open her heart and soul to give readers a glimpse into the world of street photography. Join us as we explore what it means to have a love for street photography with Marci Lindsay. “I got my first film camera when I was maybe eleven. I shot mainly around my suburban neighborhood, which I found extremely boring. All I could do was shoot during walks in the woods with the dog. I even remember shooting our beat up metal trash cans in the golden hour, with their long shadows. I made my own photo album, which I still have.” IN CONVERSATION WITH MARCI LINDSAY THE PICTORIAL LIST: Marci please tell us about yourself. What got you involved in photography? MARCI LINDSAY: I was born in Boston and currently live in Washington, DC. In between, I lived in Virginia, Iowa, St. Louis, and Austin. But I came of age in New York City, where I chose to go to university and then began a short-lived career in urban planning. That may be the place I still feel most at home. I was introduced to photography - street photography, actually - as a young child. My parents had a book from a Museum of Modern Art (NYC) exhibit called The Family of Man. It had photos by Bill Brandt, Lisette Model, and Garry Winogrand, among many others. I was entranced. Of course, I had no idea there was something called “street photography,” and I’m not even sure the genre had the moniker back then (circa 1970). Not long after, I got my first film camera. I was maybe eleven. TPL: What is your perfect street scene? Where do you find your inspiration? ML: Like most street photographers, I love to shoot in places where there are a lot of people and at least some action. And like many others, I often find more inspiration with the change of scenery you get when traveling. But these situations are not always possible (especially in the past 18 months), so I have tried to be open to the challenge of shooting wherever there are any people at all. Interesting street photos can be made anywhere at any time—home and away, protests and everyday life, and in cities and small towns. Because of the pandemic, I am working on opening my mind and thinking outside the box, to find inspiration in new places. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? ML: Maybe it’s because they were the first photographers I was exposed to, but some of my favorites remain the classic, largely black-and-white photographers from the early to mid 20th century, such as Brassaï, Cartier-Bresson, Doisneau, Erwitt, Levitt, and Winogrand. As a poor college student in Paris in 1981, I bought myself a gift of a book of Magnum photographs, which I still have. In addition, I took a lot of film classes in college. I was fascinated by Italian neorealism in particular. This genre was characterized by slice-of-life stories, and non-actors were often used in leading roles. (Everything seemed to be propelling me toward street photography.) Today I still spend time looking at art; I think it’s helpful for photographers to be exposed to the best of other mediums. I’m very much drawn to impressionist painters, especially their composition. It’s almost as if they were street photographers before cameras were widely available. TPL: What were the difficulties you encountered when you first started out in street photography? ML: Although my introduction to street photography was at a young age, and I’ve always loved looking at street photographs, I didn’t know it was a genre until about four years ago, when I got on Instagram. Between childhood and then, I didn’t shoot a whole lot except on the rare trip or taking snapshots of my children. Once I knew there were many people out there doing this thing called street photography and learned more about it, I decided to take up the challenge myself. But being shy, this was a bit terrifying. I was still raising a family in the suburbs at that time, but I started dipping my toe in on trips to New York or to Europe. Those places are good for the newbie - densely populated, many tourists, and people rather laid back about being photographed in most instances. Early difficulties for me were getting close enough to people (still working on that) and learning to use a digital camera (still working on that). I took a few classes back in the days of film, and I would really like to take some workshops now, although I haven’t yet. Then again, we’ve been in a global pandemic for a good chunk of the time I’ve been doing this. I’ve gotten comfortable shooting on the street, but there’s so much more to learn about making good street photos. The process will continue. TPL: What are your thoughts and feelings about shooting individually with a friend/s when out on the streets? ML: Just as I can’t shop with someone when I need to find something specific, I prefer shooting alone. A few days ago I met up to shoot with some DC photographers. It was great because we hadn’t been together in person for quite a while. But it reminded some of us why we prefer being alone when trying to get something done besides socializing. I like to meet other street shooters when I travel, but many times we’ll make it a coffee or lunch rather than a photo walk, just to get to know each other. TPL: What is the most challenging part about being a photographer during the pandemic? ML: It’s been tough not being able to travel. Even in DC, I didn’t want to get on public transportation for a long time, so all my shooting was done on short walks from my home. It was a very sudden change, too. In March 2020, my husband and I cut short a trip to Japan because of Covid. Within a week I went from shooting in Tokyo - one of the best places to do street - to hunkering down in DC and taking photos of empty streets. Soon after, when everything was shut down, my husband and I would take a walk after he was finished working for the day. We called it our “sanity walk” back then and I took my camera. So in that way the pandemic was good for me because it was when I began to take my camera every time I went out. They were short walks, but they were every day. Because of the pandemic, I am working on opening my mind and thinking outside the box, to find inspiration in new places. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let images just “come to you,” or both? Describe your process. ML: If I’m not shooting at an event, I usually let images come to me, or rather I go hunting for interesting things to shoot, without a preconceived idea. I’ve learned, like most of us eventually do, that if you’re out there often enough, you will capture something worthwhile. I would like to find a project to work on, so that I go out with a goal, but I haven’t really done that yet. I have a project in mind, but it involves foreign travel, so that will have to wait a little longer. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? ML: I currently have a Fuji X-T3 that I bought with an 18-55mm lens. More recently I added a 27mm pancake lens. I guess my equipment does help me in that I have a camera that is small and light, silent, weather-resistant, and with wider-angle lenses. I’m not sure if I’ll ever need anything more than that. I am definitely NOT a gearhead and am not particularly tech savvy. The best camera for me is the one that I will have with me, so it has to be one I am willing to carry all the time. TPL: What are some of your goals as an artists or photographer? Where do you hope to see yourself in five years? ML: I want to keep shooting as much as possible. I’m not young anymore, so I am definitely starting to internalize that time isn’t endless. But street photography has become more than just a hobby - it’s become somewhat of a mild obsession (and I’ve heard many others say the same). I just want to get better and see what experiences it leads to. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? ML: There’s a project I’m working on with the DC Street Photography Collective, but no personal projects just yet. I would very much like to do that, though - it’s time! TPL: "When I am not out photographing, I (like to)…. ML: These days, I’m editing photos, submitting photos, reading about photography, looking at photos, or talking to one of my groups of like-minded photographers. I am in two collectives, the DC Street Photography Collective and the Optic Nerve Collective. I also do occasional writing for Women in Street (Blog, Facebook and Instagram) and I’m curating for @street_macadam (Instagram) and Photographers Under Containment (Facebook.) When I’m not doing photo-related things, I like to travel, the only other thing that I’ve been as passionate about as photography. And then there’s spending time with my husband and four kids, who always come first, but now I bring my camera along! PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> 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. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation.

DIFFERENT TANGENTS Jennie Blythe is a photographer passionate about travel and about observing life. To her, curiosity and no judgement is the key. DIFFERENT TANGENTS September 21, 2020 INTERVIEW Photography by Jennie Blythe Interview by Karin Svadlenak Gomez Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Jennie Blythe is a photographer passionate about travel and about observing life, wherever that may be and in whichever photographic genre it happens to be. She doesn't like to categorise herself to just one style or genre as she describes this would limit her photography that she wants to make. Such a beautiful depth of emotion and strength is evoked through through her photography. To Jennie, curiosity is the key and making sure that the eye through the lens never judges. “Photography is as strong an interest as travel now: it really resonates with me. You get to visually explore your surroundings wherever you are, it's creative and it's technical. It's also anthropology - being curious about people really helps, and the lens never judges.” IN CONVERSATION WITH JENNIE BLYTHE THE PICTORIAL LIST: Jennie please tell us about yourself. When did you start getting interested in photography? JB: I went on a fantastic trip to Cambodia in 2002 and, when I returned, I was rather disappointed with the photos from my point and shoot film camera - so I got my first SLR and went on a developing course. My interest lapsed over the years, partly due to the cost of analogue photography but then a couple of years ago I started travelling more frequently again and really wanted to record these travels photographically. This segued into other styles of photography, too, such as documentary, street and portrait. TPL: Where do you find your inspiration? JB: Almost anywhere. Before lockdown, I didn't think I was inspired by street photography. I did it because it's accessible, because I have a wide group of peers and because it sharpens your reflexes. Lockdown showed me how much I take from the genre and how much I enjoy it. Dylan Thomas once wrote that, "My mind jumps from thought to thought like a wombat", and mine's like that (though without his genius or way with words). In the past I have been inspired by novels, by cookbooks, by Instagram. In terms of documentary work, I'm influenced by social affairs as I see them. I'm keen to do projects on the elderly, on race and immigration, on the social aftermath of war. I've started researching Ebola and am becoming more deeply engaged with environmental issues. My mind flies off on tangents and dives deeply into them. I like that about myself, and photography supports it. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? JB: A photograph has to be interesting in some way, even if just to me. My interests are very varied and my photography reflects that; I don't like to stick to one genre slavishly. But overall I find people and humanity fascinating. While there are always 'bad apples' in every society, I truly believe that most people are good-hearted and want the same things in life: health, wealth, the best for their children. I'm lucky to have travelled widely and to have experienced the warmth and hospitality of all sorts of races, religions and nations. TPL: Has your style of photography changed since you first started? JB: Yes! I am a much better photographer now. In part this is due to different equipment - the right lenses can make such a huge difference to the pictures you make. And you learn by experience. I also like to explore different media. Sometimes I shoot with film, or mess around with 'film soup' (soaking exposed film in a variety of substances before developing). The results then influence the way I take other shots. TPL: Where is your favourite place(s) to photograph? JB: In London, I love shooting in Camden or Brixton. Around the world, Jerusalem and Bethlehem were amazing to make photographs in, as was Uzbekistan. I love exploring the Balkan states, too, and South-East Asia is a joy, especially Myanmar. But if you can't find something to occupy and entertain in every location you go to, you're probably not doing it right! My mind flies off on tangents and dives deeply into them. I like that about myself, and photography supports it. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? What would you say to someone wanting to start out in your genre of photography? JB: It does make a big difference. Buying my first specialist lens was a revelation (a 'nifty 50'), in terms of the results that I got. For digital photography, I usually use a Fuji XT-3. It's a great camera for street photography, and quite light and weather sealed for travelling around. My go-to lens is a Fuji 18-135mm. Though the images are slightly less sharp than when using a prime, it offers me a huge amount of flexibility when travelling. I don't want to carry around and change a huge number of lenses. For portrait photography I prefer my old Canon 600D. I have a gorgeous 85mm lens that creates beautiful shots. But in my opinion, no amount of equipment can make you a cracking photographer. A well composed image is a well composed image, whether or not you have the latest gear. I know lots of photographers who are technically excellent, real gear heads - but their shots are a bit dull. So my advice would be just get out there and worry less about being technically perfect. Make the shots that make you smile. TPL: Do you prefer to shoot alone or with company? JB: It depends what mood I am in that day! On the whole though, I like to shoot with other people. Partly because I'm usually fairly sociable and partly because the rapport can create great results with your subjects. There is sometimes more trust from them - you are less of a lone weirdo taking photos on the street and more part of a project! TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? JB: There are a number of photographers, that I admire: Boogie, Tony Ray-Jones, Tim Walker, Don McCullin, Vivian Maier. I am a big fan of shooting on location with local photographic guides, too. They speak the language, know the terrain and the light, the people...I learnt a lot from visiting Romanian villages with Vlad Dumitrescu, and understanding how he engages with the local community. In Jerusalem I had a great day shooting with @simon_beni_ - he has a completely different style and my confidence in approaching people for shots really improved. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? JB: I'd like to follow up on more of my documentary projects and see how my photography evolves. Eventually I can see myself working in situ more, in different regions and countries. TPL: Are there any special projects you are currently working on? JB: I'm thinking about a number of projects at the moment, more from a documentary point of view. - The elderly in society, and how this changes with race - "Gypsies" - the last acceptable frontier of racism - The Yugoslavs - portraits of a former nation TPL: "When I am not out photographing, I (like to)... JB: Did I say that I like to travel?! I also like hanging out with my family, walking, cooking & eating, seeing friends, reading, googling random facts on the Internet." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> 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. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation.

I take photographs every day. I also paint, sing and dance. I like to walk around without an agenda and catch whatever piques my eye. I’ve always been into art but additionally have loved fashion, popular culture, languages, music and dancing since I was a child. I was born in London into a Persian Jewish family. My mother was an Israeli ballet dancer, from whom I inherited a love of dance and music. I even imagined becoming a fashion designer and spent my free time drawing and designing clothes. I’ve used a camera most of my life; my father had bought me a Kodak Brownie 127 when I was kid. At home we placed a lot of value on family photographs and home movies. As a teenager loved going to art galleries on my own; it felt like an adventure and an entry into a fascinating world and an escape from suburbia which I considered frustrating and boring. I studied art history with Italian and French languages at Sussex University. It was during my year abroad in Venice that I started developing my own photos in a darkroom. My camera at that time was an Olympus OM1. I was also painting on canvas, mainly abstract expressionist still life and self portraits, but increasingly felt that the future for me was in photography and not fine art painting. On my return to England I also worked as an artist’s model which gave me an understanding of what it’s like to be on the other side of the artist’s eye or lens. In the late 80s I did a degree in Photography and Visual Culture at the University of Westminster, studying Semiotics and the writings of Saussure, Roland Barthes, John Berger and Susan Sontag as well as the work of photographers such as Jo Spence whose project Beyond the Family Album really resonated with me. I later went on to teach interdisciplinary courses in Art History, European Studies, Visual Culture and Film studies for many years which also involved curating film programmes for an independent cinema, before deciding to focus on my own creativity and Blog. Now, in my mid 60s, I feel blessed to be able to live a creative life. MISH AMINOFF I take photographs every day. I also paint, sing and dance. I like to walk around without an agenda and catch whatever piques my eye. I’ve always been into art but additionally have loved fashion, popular culture, languages, music and dancing since I was a child. I was born in London into a Persian Jewish family. My mother was an Israeli ballet dancer, from whom I inherited a love of dance and music. I even imagined becoming a fashion designer and spent my free time drawing and designing clothes. I’ve used a camera most of my life; my father had bought me a Kodak Brownie 127 when I was kid. At home we placed a lot of value on family photographs and home movies. As a teenager loved going to art galleries on my own; it felt like an adventure and an entry into a fascinating world and an escape from suburbia which I considered frustrating and boring. I studied art history with Italian and French languages at Sussex University. It was during my year abroad in Venice that I started developing my own photos in a darkroom. My camera at that time was an Olympus OM1. I was also painting on canvas, mainly abstract expressionist still life and self portraits, but increasingly felt that the future for me was in photography and not fine art painting. On my return to England I also worked as an artist’s model which gave me an understanding of what it’s like to be on the other side of the artist’s eye or lens. In the late 80s I did a degree in Photography and Visual Culture at the University of Westminster, studying Semiotics and the writings of Saussure, Roland Barthes, John Berger and Susan Sontag as well as the work of photographers such as Jo Spence whose project Beyond the Family Album really resonated with me. I later went on to teach interdisciplinary courses in Art History, European Studies, Visual Culture and Film studies for many years which also involved curating film programmes for an independent cinema, before deciding to focus on my own creativity and Blog. Now, in my mid 60s, I feel blessed to be able to live a creative life. LOCATION London UNITED KINGDOM CAMERA/S Leica d-lux 7, Fujifilm xt4 WEBSITE https://www.mishaminoff.com/ @MISHAMINOFF FEATURES // End Of An Era

CHAD COOMBS I am a multidisciplinary artist working across photography, collage, and painting. My practice examines identity, perception, and the systems that shape human behavior, often focusing on the tension between internal experience and external influence. My work is shaped by process and material. Using analog photography, hand-constructed imagery, direct mark-making, distortion, fragmentation, and recontextualization, I treat each medium as an active participant rather than a neutral tool. Much of my work centers on portraiture, not as representation, but as a site of construction. Figures are often altered, layered, or destabilized, reflecting the competing forces that shape identity, including social systems, cultural expectations, and collective perception. Informed by lived experience, including autism, my practice uses observation and inquiry to engage with structure, behavior, and contradiction. Through this approach, I construct images that invite viewers to question not only what they are seeing, but how and why they see it that way. LOCATION Saskatoon CANADA CAMERA/S sx70 Polaroid Camera WEBSITE https://chadcoombs.ca/ @ITSCHADCOOMBS FEATURES // The Architecture of Consciousness