WHAT STRIKES A CHORD Jose Marco Lull enjoys photographing what at that moment for him strikes a chord wanting the viewer to feel some sort of emotion. WHAT STRIKES A CHORD October 21, 2020 INTERVIEW PHOTOGRAPHY Jose Marco Lull INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE With a camera in hand, Jose Marco Lull has been on a journey of visual exploration for more than three decades. Since the early days of taking photographs of friends and family and capturing the beauty of his travels, he has developed a keen eye for detail and spontaneity. After a break from photography, Lull has returned to his passion with an enthusiasm for street photography, immersing himself into the bustling hustle of big city streets and uncovering the unique stories and characters that lie beneath its surface. Now based in Valencia, Spain, Lull is a self-taught photographer whose work is focused on capturing the spirit of the people and places he visits, one frame at a time. “The human element. I try to include it in almost all my photographs. Photography for me is life, and the human element makes it even more alive.” IN CONVERSATION WITH JOSE MARCO LULL TPL: Jose please tell us more about yourself. When did you start getting in to photography? JML: I am a 57-year-old self-taught amateur photographer living in Valencia. Until the age of 40 I was working in photo labs and doing some reportages on my own. Now I work as a civil servant in the Valencian Government Administration. I bought my first camera at age 20, a second-hand Nikon F2 that I still have and since then I have been taking photos, mostly travel photography, nature and some underwater photography as well. The switch to digital photography was a bit traumatic for me and I did not take photos for several years. Later in 2016 I bought a Fuji X series and started doing street photography, something that I had always liked but never done until then. Now it is almost the only genre that I practice. TPL: Where do you find your inspiration? JML: There is nothing in particular that is my source of inspiration. I see a lot of photography, the internet, books, exhibitions...I guess it is a mixture of all those impressions that remain in my head. 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? JML: I don't want to express anything in particular with my photography. I think that a good photo is the one that causes an impact, a strong emotional reaction in the viewer, be it laughter, grief, guilt, astonishment...if I succeed, I am satisfied. TPL: Do you prefer to shoot alone or with friends? JML: I prefer to go out to take photos alone, you are more focused on what you do. Photography is like a form of meditation for me. You go out into the street and your mind stops thinking, you are only attentive to what is happening around you and you try to capture the moment where everything comes together. Although sometimes it is good to have someone with you, sometimes you go unnoticed if you are in company. TPL: Who are your favourite artists and photographers? JML: I have been inspired by many authors but especially the "classics", Cartier-Bresson, Garry Winogrand, Elliott Erwitt (I love Erwitt) Robert Frank, Vivian Maier, Jill Freedman...the great documentary maker Sebastiao Salgado...an endless list! Spaniards like Ramón Masat, Pérez-Siquier, García Rodero, Koldo Chamorro...And photographers that I have discovered on Instagram such as Vineet Vohra, Cedric Roux, Eric Kogan, Nina Kling, Ximena Echague, Felicia Olivares... Be yourself, everyone else is already taken. - Oscar Wilde TPL: Where is your favourite place to photograph? JML: Although "everything can be photographed" and inspiration can arise anywhere, my favourite place is the streets of big cities. I like that mix of diverse people and the great amount of stimuli that you have around you in a big city. 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? JML: I use Fuji X series cameras. I like them because of the lightness and quality of their lenses. I also like its vintage style. My favourite focal length (in full frame equivalent) is 50 mm. It allows me to be further away from the scene and not disturb the moment, I prefer to go unnoticed, but I also use the 28 mm when I need it. I would advise someone starting out in street photography to always carry a camera with them, a small one with a fixed lens (I try to always carry my X100T with me), and to look at a lot of photography, painting, cinema, etc., and not to try to copy anyone, being yourself. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JML: I don't have any projects in mind. I am not much of a planner. I go out and photograph what at that moment "strikes a chord". Maybe later I can put together several photographs and form something that works as a whole. But I am not saying that in the future I will not (have a project). TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? JML: My goal as an artist is to feel good about myself doing what I do and try to make others enjoy it. I do not try to transmit or tell anything with my photographs, I simply show the beauty of the everyday, of ordinary people, of those moments or instants that go unnoticed in the eyes of most people and that photography has the power to freeze in time and thus is able to show. In five years I hope to be taking better photos than now, and publishing a book would be nice, but I think that will take more than five years. TPL: "When I am not out photographing, I (like to)… JML: I usually train Aikido, an international martial art to keep the mind relaxed and the body active." VIEW JOSE'S PORTFOLIO Jose's instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

VISUAL VOCABULARY Documentary and street photographer Vinh Tran, allows his photography to become his vocabulary, allowing the visual to become his words. VISUAL VOCABULARY August 13, 2021 INTERVIEW PHOTOGRAPHY Vinh Tran INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Vinh Tran is a documentary and street photographer currently based in Vietnam. Vinh allows his photography to become his vocabulary, allowing the visual to become his words. Vinh’s first photography approach was in January 2015, when he bought his first film camera – the rangefinder Yashica Electro 35GT. Vinh took a tonne of photographs and he spent most of his money buying and developing films. Shooting film, at the time, was a therapeutic photography practice that helped him cured all of his anxiety. One day, unaware of who she was, Vinh read an article about Vivian Maier, the American street photographer, and was utterly astonished. Her story was so inspirational to Vinh and changed his life, a full 360 degrees since then. For Vinh photography has become part of his daily practice, carrying a camera all the time, taking images of everything and everyone. Photography has become an integral part of his life. “I realised photography has always been there with me during the darkest times of my life. I thought it was just a hobby initially, but it is the only thing that makes me feel happy. I asked myself: “If not now, then when?” IN CONVERSATION WITH VINH TRAN THE PICTORIAL LIST: Vinh please tell us about yourself. What was that moment that sparked your interest to pursue photography? VINH TRAN: I was born and bred in Ha Tinh, a small city on the North Central Coast of Vietnam. Like any other parents in this developing city, my traditional-loving parents used to control my every single move. I was forced to follow their decisions, to study at a certain university, find secure jobs, and then get married. Basically, to live an ordinary live without taking any risk. Most of the young in Vietnam have no choice but to go to universities that our parents think are "more prestigious," which would help us find promising jobs in the future. I was no exception. I majored in law, and I was lost by the time I graduated since I always have a tendency towards art, but I did not have any courage to chase my dream. After I graduated from a Law University, I worked for several companies in different fields hoping that something I truly like would come up one day. But my days always ended up hopeless. It took me quite a few years to overcome the fear of chasing my dream all thanks to Vivian Maier’s inspiring story. It is not only about her images but also her life. Gosh, I wish I could hug her and tell her how much her story really meant to me. I realised photography has always been there with me during the darkest times of my life. I thought it was just a hobby initially, but it is the only thing that makes me feel happy. I asked myself: “If not now, then when?” Years of working different desk jobs came to an end eventually, I am going to Budapest this September to pursue another study, which is Photography. I am currently residing in Hanoi, Vietnam, and just patiently waiting for my Visa Approval to Hungary. TPL: How did you first approach making the images in your project DON'T WITHER AWAY? What were your initial impressions when you started this project? What compelled you to document life in a nursing home? VT: I actually drafted quite a few projects first; then I talked to myself that my very first project should be something really connected to me, to my life. My project was born from my imaginary fear. One of my biggest fears in life is living without any objectives. A life without goals would be pathetic to me. I imagined if I was old already, too old that I could not accomplish a list of well-thought-out goals and have nothing to look forward to. That would be depressing. One of my first impressions when I started this project is the connection between me and my subjects. They have their own unique stories to tell, which I feel so connected to in many ways. There were many times I asked myself: "How is it like living in a nursing home? Especially when you are an introvert who needs a personal space like 24/7? Would it be ok to live in a nursing home when you are a person with countless objectives and expectations?"… These questions led me to the project. I just dived into it to find out the answers. *Editor's Note: Read Vinh's story DON'T WITHER AWAY in link below. TPL: What did you encounter as an outsider? What was it like to witness the interactions between the residents and staff? VT: There were some obstacles, of course. Not all of the people there in the Elderly Care Center are camera friendly. Seeing a young guy who carried a camera all the time was something not so comfortable to them. For the first few days, I try to interact as much as possible to build trust with them. They eventually treated me as if I was their son and allowed me documenting them freely. Aged care nurses have a considerable amount of daily tasks to do so it is understandable that sometimes they cannot take care of the elders there properly. I saw them yell at the elders a couple of times or even force residents to participate in certain activities for easy management. As an outsider, I could not intervene in anything but try to chill the situation out by talking to the elders because they love having someone listen to them. TPL: Talk to us about some of your other projects. For you personally, why are making these photographs important? What do you want viewers to understand through your images? VT: TRANQUIL is my ongoing project which aims to demonstrate the desires of individuals who wish for a tranquil and peaceful space where they can get away from the chaotic and suffocating society. It somewhat reflects my life, and it is my long-term project. I think a great photo is a photo that can evoke emotion. And it is pleasing when your viewers say they are "in tune" with your images. That is my goal, to draw viewers’ attention to touching and meaningful photo stories. TPL: Your work ranges from photojournalism to street photography, how do you define yourself as a photographer? VT: Frankly, I always ask myself "Am I good enough to call myself a photographer? Or am I just a snapper?" For now, I would call myself a photography practitioner. Shoot more, create more stories. I don't know, let time answer that. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VT: Vivian Maier is my all-time favorite artist, of course! Her dedication to photography is extraordinary. Irina Unruh, a documentary photographer from Kyrgyzstan. Check out her project "I am Jamilia”. Skinny Siddhartha, a Vietnamese street and documentary photographer. I learnt a lot from his photos. And, Julia Fullerton-Batten, a German Photographer. Everyone loves her work "Looking Out from Within." Frankly, I always ask myself...Am I good enough to call myself a photographer? Or am I just a snapper?...For now, I would call myself a photography practitioner. Shoot more, create more stories. I don't know, let time answer that. 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? VT: Yes, it does definitely. This topic is somewhat controversial, but to me, camera gear matters. I am not talking about some cutting-edge features like high-resolution, ultra-fast continuous shooting, dynamic range...But the best camera is the one you feel comfortable with, the one that makes you want to pick it up and shoot every day. For instance, I used to own a Leica M240; it felt great in my hand and made me want to go out shooting anytime I picked it up. I have used a variety of cameras for the past few years, from film to digital. Most of my images were taken with the Leica M240 and Fujifilm X-T20. Currently, I am using the Fujifilm X100V for my street/documentary photography and Sony A7ii for my commercial work. Regarding the focal length, I would describe myself as "a 35mm person". TPL: Do you prefer to work in black and white or colour? Do you spend a lot of time editing? What is your process? VT: It depends on the story I want to tell. Sometimes playing around with highlight and shadow would be fun, so I would prefer B&W. But if the color needs to be toned out, then I would go for some color tweaks. Editing plays an essential role in photography indeed. Usually, a bit of adjustment would be enough for my street images since I always pay attention to raw results. But It may take a couple of hours to modify photos that are part of an important project because I always like to experiment with different edits. This is my recipe when I am editing: A good playlist -> Read and see five projects from any Photographers/Artist to boost my mood -> start editing. TPL: The past year and a half has been tough on many artists. How have you been feeling through this time, both personally and as a photographer? VT: As an introvert, dealing with lockdown is not a big deal to me. It is just sad when lots of artists/photographers out there are mentally and financially struggling during this time of COVID. Some of my projects are temporarily suspended due to covid also. But I am so looking forward to my upcoming time in Budapest! I am an optimistic person who always looks at the bright side of life, so I do believe the situation will get better. TPL: What are some of your goals as an artist/photographer? Where do you hope to see yourself in five years? VT: As a photographer, to be able to create photographic stories in satisfaction is to live twice. Hopefully, in five years, I can accomplish some of my ongoing projects and publish a photo book (or maybe more). TPL: Are there any projects you are currently working on that you would like to let everyone know about? VT: There are several more projects that are currently just drafts in my notebook. For instance, I want to tell a visual story about me - as a free thinker and the relationship with my Buddhist parents and my Christian girlfriend. TPL: "When I am not out photographing, I (like to)… VT: To get lost in my train of thought. It always leads to some interesting ideas." VIEW VINH'S PORTFOLIO Read DON'T WITHER AWAY by Vinh Website >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

PHOTOS PUNCTUATING LIFE Photographs punctuate Suzanne Phoenix's life, giving her life a rhythm and focusing on topics to see more representation by a female gaze. PHOTOS PUNCTUATING LIFE August 14, 2020 INTERVIEW PHOTOGRAPHY Suzanne Phoenix INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Suzanne Phoenix, a Melbourne-based photographer, has been using her camera to capture people and places through events, live music and performance, documenting street and daily life. Unconstrained by judgement, Suzanne's lens unlocks a world of beauty and wonder, allowing her to explore and grow in a creative way. Her unique style of photography is both captivating and thought-provoking, as she often focuses on topics which need more representation, pushing herself beyond her boundaries. It is this certain kind of magic which has earned her much recognition and respect in the photographic world. With her passion for photography pulsing through her veins, Suzanne punctuates her life with photographs that tell vivid stories and make an impact. Come along with us as we explore Suzanne's inspiring journey. An artist serves their community. - Amanda Palmer “When I worry about focusing too much on things that I am close to, love and am part of and think I should be working bigger, I remember the way I can best serve is in those very places.” IN CONVERSATION WITH SUZANNE PHOENIX THE PICTORIAL LIST: Suzanne, when did you start getting interested in photography? SUZANNE PHOENIX: Photography has been a love of my life. My family and my Nana showed great respect and importance of photographs. My Nana was terrible at it, always with a thumb over the lens, a shadow or missing the subject completely. I now adore and treasure her photos, they are completely surreal, you couldn’t make these photos if you tried. I have photographed since before I was 10 years of age, unfortunately it’s not one of those cool ‘my grandparents gave me their box brownie’ kind of stories. It was a red plastic Kmart job. I really only thought I could take it more seriously in about 2012. I am mostly self-trained; I learn best through doing. I have participated in a few photography and artist/photo books masterclasses with Stephen Dupont, and Kate Baker was my mentor for several years. I have done many and varied jobs and still do other work alongside my photography, like most artists I know. I have been a cherry picker, Feng Shui consultant, filing clerk to CEO, lots of work in community settings, neighbourhood houses and local government. TPL: Where has photography taken you? I heard you say in an interview that you were a shy person. How has photography helped you to overcome this barrier? SP: Photography has taken me everywhere! Well not everywhere, but a lot of places. From, taxidermy championships, jelly wrestling, ute musters, sex shops, protests, dirt drag races, death metal gigs to a drag queen festival in the desert. I will always be a shy person underneath. Putting myself out there is a skill I developed firstly by becoming confident in myself and through my working career. But photography has taken it to a whole new level. If I have a reason to be somewhere, I can be comfortable, and photography gives me that reason. TPL: Even though you don’t like to label yourself with a certain style of photography, where does your main passion lie...what excites you? SP: People and place I think excite me the most. People at both ends of the spectrum from just being themselves to being completely extreme. And moments, it’s all about the perfect, often unseen, moments. TPL: How do you choose your subjects and your projects? Where do you find your inspiration? SP: This relates to the previous question, the everyday and the extreme, and just things I love in life. Around the next corner, in a facial expression and human exchange. Projects are often about focusing on an area where I want to see more representation or an interpretation by a female gaze. TPL: Who are your favourite artists or photographers? Who has mostly influenced your style? SP: Rennie Ellis, Diane Arbus, Patrick Pound, Nan Goldin, Agent Cleave, Amy Taylor, Jack Picone, David Wadelton, Megan Lewis, Stephen Dupont, Betty Grumble and Cash Savage. All these artists have influenced my style in different ways. Some influenced (and continue to influence) my approach, to know when to be brave, step forward and when to stay in the shadows and observe. Projects are often about focusing on an area where I want to see more representation or an interpretation by a female gaze. TPL: Victoria is unfortunately going through it's second wave of COVID-19, and some areas are faced with total lockdown whilst other areas statewide are on level 3 or 4 restrictions...regarding your Project ISOLATION PORTRAITS, what are your feelings and the general feeling of your community second time around? SP: In the second stage of the project the community felt very different. Restrictions were still in place until the end of May, and then relaxed a little in June, but we were still in isolation and encouraged to stay home. Some people were returning to the workplace and transitioning from home schooling. People seemed to be going back to the usual busyness of their pre-COVID-19 lives. There was less willingness and ability to participate in this series. Many people also appeared tired, frustrated and worn down. I plan to commence stage 3 shortly and I imagine the feeling will be different again. I am continuing with this series partly because it is a rare opportunity to document but also because it keeps me photographing. I lost all of my photography business when COVID hit. TPL: Has your style of photographing changed since you first started? SP: I’m really not sure. I probably didn’t have a style at the beginning. I try to not box myself into having just one style and keep challenging myself to learn different ways of shooting and creating diverse work. TPL: Do you think equipment is important for achieving your vision in your photography? What would you say to someone else just starting out? SP: My only real comment on equipment is that I like to use a camera and lens that is small and quiet. This enables me to create imagery without people thinking I am serious; they barely notice me. And if I have engaged with them, they are not intimidated by the equipment and rarely put up a facade. It is helpful for me to have the right equipment for particular settings like music festival, but I usually just carry one camera and lens and create what I can with what I have. To someone wanting to start out in my genre of photography, I’d just say get out there and shoot. Read books, look at the photos of the greats and the emerging and go to exhibitions. But most importantly, just shoot. TPL: What are some of your goals as an artist? SP: My art helps me to navigate the world, it’s joys and its challenges. My main goal is that photography stays that way for me. To be making work I am proud of. Making a living. Not compromising my ethics. Experiencing life. Making a difference. TPL: Are there any special projects you are currently working on? SP: I am working on ‘Isolation Portraits – Stage 3’ while we are in stage 3 restrictions. Alongside this I have commenced a long-term series of nudes. 2021 sees the 10th year of my International Women's Day series and I have a few big plans for this. All new portraits will have a focus entirely on BIPOC ( Black, Indigenous, People of Colour ). Other aspects of the series are yet to be announced but it will include a self-publication and look back at the past 9 years. TPL: “When I am not out photographing, I (like to)... SP: Think about photography.” VIEW SUZANNE'S PORTFOLIO Read ISOLATION PORTRAITS by Suzanne Suzanne's website >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

NEW YORK VISIONS Sandra Fine's journey with photography is intertwined with her journey through life, encompassing multiple photographic and art genres. NEW YORK VISIONS October 27, 2021 INTERVIEW PHOTOGRAPHY Sandra Fine INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sandra Fine photographs all around herself, so therefore her work encompasses multiple genres. Sandra has a Masters of Fine Arts from Pratt Institute in Brooklyn, New York, where she was greatly influenced by her teachers and classical photography. Beginning her photography journey as a black and white film photographer, working in the darkroom was her favorite place to be. Her conversion to working solely in digital color was a slow evolution, but as she states..."here I am!" “Street photography became a big part of my life when I started taking lengthy walks (at least 5 miles) around the city a few years ago. The walks became part of my daily routine and I loved exploring the city with my camera. The city itself has a rhythm and a buzz. It has a very complicated soundtrack that changes with the time of day and the weather. The visual vibrance is similar to the soundtrack. There is a constant visual discovery of reflections, architecture, people, vehicles and light in the street. During the quarantine I began my walks before dawn. I often felt that I was photographing silence and the remnants of people. The quiet in the streets had a sadness and beauty to it.” IN CONVERSATION WITH SANDRA FINE TPL: Sandra please tell us about yourself. SF: I was born in New York City and have spent much of my adult life there. I am a fine art and street photographer who combines my love of walking and exploring New York City with my passion for photography. I studied photography and art at Pratt Institute and received an MFA in photography. I started in 35mm black and white film photography. I hand painted on the photos and transitioned into medium format work. I eventually embraced digital photography and found my way to color, which was a gradual evolution, because for so long, I loved the darkroom. TPL: How did you become interested in photography? What does photography mean to you? Describe your style. Where or how do you find inspiration? SF: I was always interested in art growing up. My father was the family photographer and I loved looking at family pictures and albums (I still do). I took my first photography class in college and used my father's old camera which was a Minolta A-2 in a beautiful leather case. It was completely manual. My passion for photography creeped into my consciousness which led me to study at Pratt. Photography is sewn into my life. I go everywhere with my camera and shoot everything. Inspiration is not hard to find. I find it all around me, on the streets, in nature, in books, in museums, in cinema and with my family. TPL: What are some tips or advice you would give yourself if you started photography all over again? SF: That is a hard question to answer. My journey with photography is intertwined with my journey through life, so it becomes a philosophical question for me. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SF: I have many. I will name the photographers that had a particular influence on me in my early years: Andre Kertesz, Henri Cartier-Bresson, Walker Evans, Dorothea Lange, Imogen Cunningham, Lisette Model, Robert Frank, Helen Levitt. The teacher who had the greatest influence on me was Phil Perkis. I have also been influenced by painting, particularly in composition. I love Matisse for his compositions and the brilliance of his cut-outs which tell you so much about shape and color. Photography is a kind of love affair with your subject. TPL: When you are out shooting - how much of it is instinctual versus planned? SF: Nothing is planned. I go out expecting something, but there are good days and not so good days. 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?) SF: I use a Sony A7R and a 35mm lens. I like the smallness and lightness of it. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? SF: I have begun a special project with another photographer that is outside the box for both of us. I am very excited about it but feel it is in its infant stages, so it is too early to talk about. I would like to look through my years of film work, organize it, digitize it and make sense of it. I also would like to keep working and growing as a photographer and find an audience. TPL: "When I am not out photographing, I (like to)… SF: I like to swim, read, crochet, watch movies, and spend time with my husband, family and friends." VIEW SANDRA'S PORTFOLIO Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

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. TRACES OF TIME April 27, 2025 INTERVIEW PHOTOGRAPHY Zamin Jafarov INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Zamin Jafarov’s photography is a journey through light, time, and the human spirit. Over the past decade, this Azerbaijan-based photographer has cultivated a distinctive body of work that explores the intricate relationship between nature, humanity, and the ephemeral moments that define our lives. Zamin’s photographs reveal a quiet intensity. Whether capturing the solitude of remote mountain regions, the shifting geometry of urban life, or the fleeting gestures of a passerby, his photographs are filled with a sense of presence. There is no rush in his frames — only careful observation, patience, and an instinctive understanding of time as both subject and medium. Zamin’s start into photography began in 2009, developing alongside a deep passion for mountaineering. Perhaps it’s this balance between movement and stillness, the climb and the pause, that informs his unique way of seeing. Zamin’s photographic approach blurs the lines, not confining himself to a single genre — instead, it is a constantly evolving dialogue that spans street photography, metaphysical and abstract explorations, extreme photography, and the quiet power of new topographies. His photography reveals a meticulous attention to detail, using light and shadow not just as compositional tools, but as metaphors for the complexities of life itself. Zamin’s documentary photography further deepens this exploration, capturing raw, authentic moments of everyday life and offering a window into the lived experiences of individuals, cultures, and communities of Azerbaijan. Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. He also likes to challenge the notion that the value of a photograph lies in the equipment, emphasizing instead the photographer's ability to uncover truth through their perspective. In his work, the viewer is invited to reflect on the changing nature of human existence and to discover the hidden beauty that often goes unobserved in our everyday surroundings. Currently, Zamin is preparing his first photo book — a collection of images that spans ten years of work, highlighting the evolution of his photographic voice and his commitment to documenting both the immensity and the subtlety of life. As his career continues to unfold, Zamin remains dedicated to exploring how photography can convey deeper truths about the human experience, with each image telling a story not just of what is seen, but of what is felt. In this conversation, we explore the heart of Zamin Jafarov’s vision, his process of capturing moments that reflect the traces of time, and the ways in which his photography questions traditional boundaries to create a visual language all its own. “To me, photography and art carry this meaning: “The Earth without art is just...eh.” The core philosophy is about realizing the act of seeing, learning to observe, and recognizing. The world is rapidly changing, and in this change, within spaces, photographers live, travel, and capture moments. They spend years working, studying, observing, gaining experience, and changing their perspectives to frame just one moment out of the chaos. The key question is, “What do we see and what do we miss?” IN CONVERSATION WITH ZAMIN JAFAROV THE PICTORIAL LIST: How does your experience as a mountaineer influence the way you approach photography — both in terms of physical perspective and emotional mindset? Do you find that the rhythm of climbing mirrors the rhythm of observing and capturing a moment? ZAMIN: That’s an interesting question. I started mountaineering with a photography project. In 2011, my photographer friends Zaur Mirzayev and Vusal Mustafayev and I launched a new project. We created a mountaineering group called “Photo Peak” and began mountaineering courses. It’s hard for me to express my connection to nature in words, just like with photography. When I engage in both activities, it’s true that I lose a lot of energy, but I enjoy the process, and even after many years, those moments remain in my memory, constantly giving me new inspiration, perspectives, and ways of thinking. Both activities require focus, patience, thought, the ability to see and observe, and choosing the right moment to take action, which creates an interesting harmony and rhythm. For me, nature and photography cannot be separated. Nature and mountains always draw me in, despite the challenges. And every time I return, I gain new experiences and a deeper love for life. And, of course, new photos, new work. Another interesting nuance I would like to mention as photographers know, the ideal time for an outdoor photoshoot is about an hour after sunrise and an hour before sunset. However, this rule doesn’t apply at altitudes above 3000 meters. Every moment on the mountain is different and full of surprises. Every photographer agrees that it is the surprises that make photography interesting. On the mountain, there are many shots that not everyone can access. True, shooting with heavy camera equipment, a mountain bag on your shoulder, in difficult terrain and weather conditions, is not easy. One must also consider the potential dangers to life. You have to measure everything carefully. You need to learn to shoot and also pay attention to your health. Sometimes, you wonder, “What am I doing here?” But over time, as you gain experience and continue with confidence, behaving with patience and caution, you carry on. When you return to the city, the many photos and unforgettable moments motivate you for the next trip. TPL: What does home feel like to you, when you're deep in the mountains of Azerbaijan or walking through the old streets of Baku? ZAMIN: For me, the word “home” means anywhere I feel happy. It’s the Earth. Whether I’m with my family, or in the city, taking photos, walking, or exploring, whether in the mountains or any village, it gives me a sense of belonging and being at home. TPL: Your work speaks in quiet tones — patient, present, and observant. What draws you to stillness in a world that moves so fast? ZAMIN: In a rapidly changing world, we need tranquility. Time passes, and we need photography as a way to slow down the pace of life, appreciate the moment, and recognize life itself. It helps us become aware of ourselves and not regret the time that has passed, so we can better appreciate the present and future. TPL: You have described light and shadow as more than compositional tools — as metaphors. What do they represent to you personally? ZAMIN: Photography is life, and light and shadow are essential elements of this life. Everything in life is dual: day and night, cold and hot, good and bad, etc. This dual system sometimes reflects our choices. It’s hard to appreciate one without the other. A picture with only light, without shadow, doesn’t seem as appealing. Like the contrasts in life, this is the core of photography. The main elements of composition are precisely these pairs. Photography comes alive with these dualities and gives contrast. TPL: Why do you sometimes decide to photograph your projects entirely on a smartphone? How does that shift your perception or creative choices? ZAMIN: In the past, film cameras were used, and photographers would think more carefully, using the 36 frames effectively. Nowadays, there are no limits, and it’s even possible to shoot with smartphones. This might bring a sense of laziness, but if used correctly, it’s an advantage. More photos need to be taken to develop faster and improve. Of course, theory must also be considered, and it should be done systematically, forming and finding the aesthetic. I love walking every day, and since my smartphone is always with me, I focused on development and flexibility, and started shooting with my smartphone, which offered unlimited versatility. This helped me think more about content, rather than technical aspects. With my photos, I want to show moments that people might not notice or that they may not have seen, to make them feel what I feel, even if just a little. TPL: Much of your work is a reflection on impermanence. Do you think photography has the power to hold onto time, or is it more about learning to let go? ZAMIN: Photography combines both opposites. On one hand, it shows us a moment frozen in time, but on the other hand, it reminds us that that moment is already gone. For me, photography teaches us to capture the moment, to be present in it, and to appreciate it. TPL: What have your long-term projects taught you about change — in landscapes, in people, and in yourself? ZAMIN: Long-term projects teach you to see where we come from and where we’re going, to appreciate the rhythm of life, and to enjoy the long-term process. They teach patience and the importance of finding new stories within changing times and people. TPL: Can you walk us through what’s typically in your photography bag? Are there tools or objects you never leave behind, even if they’re not technical? ZAMIN: I would probably say an extra battery. This is one of the most common concerns for photographers. Regardless of whether I’m going out for a 1-hour or a 1-day shoot, the important thing is to always be prepared for surprises. TPL: As you prepare to release your first photo book, what do you hope viewers will take away from the experience of seeing your images in a collection versus individual prints or digital formats? ZAMIN: Initially, I wanted the images to not only tell a story but to convey a narrative. Then, I moved away from this dualism. Now, I want the viewers to flip through the book, fall into a rhythm, and experience a mood, not just to look at the pictures. I want them to find enjoyment, peace, and calm when they view it. I plan to present my first book, “Smart Frames”, at my first exhibition, “Traces of Time.” Therefore, the exhibition will feature both a section dedicated to the photos in the book, as well as other smartphone images that link 11 years of history under the title “Traces of Time.” I am currently seeking a sponsor for both the exhibition and the book’s printing. If successful, I would even be willing to hold the first presentation and exhibition outside Azerbaijan, at the sponsor’s request. TPL: Where do you imagine yourself creatively in the next 3 to 5 years? Is there something you want to achieve in this time frame? ZAMIN: In this period, I have new projects and plans to discover new approaches. I plan to focus more on exhibitions and books, and work on prints. I want to expand the boundaries of my photography. TPL: When you’re not photographing or climbing mountains, what grounds you? What kinds of things bring you peace or inspiration? ZAMIN: My main job is different. But one day I hope I will fully do only photography job. Photography, however, is as essential to me as air and water; it is my soul. Besides photography and mountaineering, I find inspiration in my family, being with them, being in nature, looking, observing, hiking, sports, music, books, exhibitions, meetings, sharing and receiving positive energy, communication, and many other elements that I haven’t mentioned. VIEW ZAMIN'S PORTFOLIO Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

THE MARVELS OF DAILY LIFE Mary Crnkovic Pilas is marvelled by the daily life in her home city of Zagreb in Croatia, documenting ordinary people and everyday scenes. THE MARVELS OF DAILY LIFE April 12, 2020 INTERVIEW PHOTOGRAPHY Mary Crnkovic Pilas INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Born and raised in Sydney, Mary Crnkovic Pilas moved to Zagreb Croatia in 1992 after completing her Bachelor of Arts majoring in Music and French. With an interest in photography, Mary attended courses at the Zagreb Photo Club to improve her skills. However, due to work and family obligations, she hung up her camera for many years. After completing The Camino de Santiago, a large network of ancient pilgrim routes that stretch across Europe and come together at the tomb of St. James in north-west Spain, Mary once again took up photography. She loves to document ordinary people and everyday scenes, and shoots mostly in black and white. “I have always been interested in photography but my love for it was rekindled after completing the Camino Portuguese in 2016.” IN CONVERSATION WITH MARY CRNKOVIC PILAS THE PICTORIAL LIST: Mary, where do you find your inspiration? MARY CRNKOVIC PILAS: In everyday situations on the street. TPL: Do you have a different style of photographing today than when you first started? MCP: I would say that it hasn’t changed so much but perhaps evolved and improved. I have always loved street photography and still do. TPL: Where is your favourite place(s) to photograph? MCP: The streets of Zagreb in Croatia. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? MCP: Despite what people say, I think equipment is important, e.g. how well the camera performs at high ISOs (I love to do night photography so this is quite important to me), how fast it focuses, etc. So although I don’t believe that equipment will not make you a better photographer, it does help you to capture your vision. The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street. - Robert Doisneau TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? MCP: I think that Elliott Erwitt said it best - “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place…I’ve found it has little to do with the things you see and everything to do with the way you see them.” TPL: Have you been involved in any other artistic fields other than photography? MCP: Yes, I am actually a musician by trade. TPL: Who are your favourite artists? MCP: Definitely the old classic photographers such as Robert Doisneau, Henri Cartier Bresson, Elliott Erwitt...I also love documentary photographers such as Don McCullin, David Turnley and Peter Turnley. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MCP: Yes, I am working on capturing Croatian traditions on UNESCO’s List of Intangible Heritage. It’s going to take a while but I am in no hurry to complete it. I have so far captured two of the 14 items on the list 🙂 TPL: "If I wasn't photographing what would I be doing?... MCP: Singing." VIEW MARY'S PORTFOLIO Mary's website >>> Mary's instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

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. CRACKED RIBS 2016 July 6, 2025 INTERVIEW PHOTOGRAPHY Cynthia Karalla INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Stepping into Cynthia Karalla’s studio in Newburgh, just north of New York City, feels less like entering an artist’s workspace and more like slipping into a dreamscape — where reality and surrealism coexist in playful tension. You don’t merely view her work; you move through it. Towering black-and-white prints seem to murmur long-forgotten truths, while, just steps away, a garden of photographed flora traces a fragile timeline of blooming and withering — life and death unfolding in delicate harmony. This immersive, emotionally charged space is a mirror of Cynthia’s mind: curious and unafraid to rework the world around her. Cynthia Karalla isn’t just creating art; she’s actively dissecting and reassembling reality with a fearless sense of purpose and a dry wit. Trained as an architect before turning to photography and fine art, she expertly balances structure with disruption. Her visual language pulls from the raw material of personal experience, especially a chaotic and formative childhood she describes as “an insane journey.” This personal narrative forms the foundation of Cynthia’s work, giving rise to art that is both deeply intimate and socially conscious, grounded in real experience yet often infused with dreamlike, surreal elements. Her process transforms the negative — whether photographic, emotional, or societal — into something charged with meaning. For Cynthia chaos is fertile ground. Absurd Craigslist ads become biting commentary. Urban detritus is reframed as beauty. The overlooked becomes the unforgettable. Through humor, grit, and imagination, she invites us to look closer at the world’s messiness and discover the poetry hiding in plain sight. Cracked Ribs, 2016 was born out of Cynthia’s need to cope with the physical and emotional stillness following an accident that left her with fractured ribs. To combat the monotony of recovery and find meaning in the pain, she turned to photography. While performing breathing exercises prescribed by doctors, she left her camera’s shutter open, capturing hour-long exposures of each breath. Many images didn’t survive the full duration, but those that did became quiet testaments to endurance, vulnerability, and the creative impulse that emerged in isolation — turning discomfort into a meditative act of creation. With this series, Cynthia shares that deeply personal experience. By Pauline Joelle “If you have ever cracked a rib you will relate well to this next venture. In the beginning, cracked ribs are the biggest stop sign you will ever be smacked with. Your busy days come to an abrupt halt and you realize how full your days were. The simple action of getting out of bed is like a long scene in a Bela Tarr film, or a “short” paragraph by Marcel Proust. Minutes transform into hours, hours into a day, just to take care of the simple necessities of life. There is a good and a bad to it all. At first it was a ‘not good’ moment. But when life throws you a curveball there is not much you can do about it. The doctors gave me breathing exercises to do. It hurt when I tried to breathe. It hurt when I tried to move. It hurt just thinking about it all. While my camera equipment sat in the corner of my place in Italy, I laid around in wait. Waiting for life to begin again. Waiting, waiting, and waiting eventually turns into boredom. Boredom is the greatest gift bestowed upon an artist, or anyone else for that matter. It gives the child space to come out to play and little problems become part of the game. In that liberating child-like frame of mind, I set up my film camera and started doing long shutter exposures of my breath. Breath is the first and the last thing in our lives and that is a big note. In the beginning of these experiments, I was home alone. My friend Maria Teresa called me to come out to play, but I could not hang out with her. Living in Italy is like being in a Fellini film. You can't help but laugh hard, so hard your cheeks can hurt for days. Laughing, sneezing, and coughing were at the top of my list of things to avoid. So, for the first three weeks of my boredom, I engaged in photographing my breath, alone. It's almost impossible to disappear in the Sassi di Matera for three weeks. The people look out for one another, and I felt honored to be included in this family. So, of course, the story was about the New Yorker who had cracked ribs. As luck would have it, some of my past models came by to inquire about me. Which opened the door for me to catch their breath in the long takes on film. It was amazing how much pain I was in, but it did not stop me from playing with my chemicals to develop the film, and scan, and review the daily shots. There is something about being locked in with your work; it takes the focus off the pain you are in. I was shooting with my 500cm Hasselblad in black and white. This camera is a medium format with only twelve shots per roll of film. I told my willing subjects what outfits to wear. One particular day we were shooting in the backyard of my friend Judith’s home, located up the stairs from my place. As the girls were ascending the staircase in their black and white outfits, some random dude yelled out loud, “Is it a black and white shoot?” It was as if Fellini was there in spirit. The girls cracked up in laughter, because no one knew the dude, and I could not hold it in either. Painful, laughter, awesome memories. The cracking of the ribs was a gift.” In this interview, Cynthia 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. What emerges is a portrait of an artist who doesn’t just reflect the world — she reshapes it. “The cracked ribs images were built within a few guidelines. The open shutter to possibly catch the unseen as movement versus the non-movement. The hierarchy of the project is the hard contrast between the light and the dark. It mimics the darkness we feel when our body is impaired, and the light is eminent on our road to recovery.” IN CONVERSATION WITH CYNTHIA KARALLA THE PICTORIAL LIST: Your early life was anything but conventional. Can you talk about your childhood and teenage years — how those experiences shaped your sense of independence, and how you navigated education, survival, and personal agency during such a turbulent time? CYNTHIA: Two weeks after my eighth birthday, my father died in a boating accident, leaving me in a situation where two women were fighting over me, one step, one birth, both claiming to be my mother. This is where my life of independence begins. The courts placed me in a juvenile facility because I refused to live with either woman, I wanted my grandma. The place was useless for education and only held the lock and key to “Time Wasted.” To not waste my time, I would dream up new ideas of escapism; the attempts and the successful adventures I did; every month, a new adventure -- 1 January - Out of an unlocked door. 10 Days gone. 2 February - Over a 16-foot fence. 20 minutes, caught. 3 March - Through an open fence. 40 minutes. 4 April - Out a third-floor window. 9 hours. 5 May - Out the back door of a car. 2 Years gone. Yes, there were failed attempts, but at the age of twelve, a child's spirit is strong; it knows no boundaries. Each time I was caught, I got three days in isolation. I enjoyed my moments of isolation, reading books, sleeping a little extra, and having my meals brought to me; this was not a punishment. The fifth time, I made it out successfully. I was missing for more than two years, and when I did return, it was with a lawyer. After this little adventure, there was nothing left to fear. Only the fear of wasting time. Pierre Bourdie, states that for some people there is a Yin and Yang in life, happy childhood, miserable adult life. And then the opposite, a miserable childhood, a fabulous adulthood. Because my childhood was cut short, in my adult life, I am making up for lost time. TPL: You’ve said that accumulating debt or financial comfort can come at the cost of creative freedom. Can you talk about that insight — how it shaped your career decisions, and how you've maintained artistic integrity without being bound to conventional success? CYNTHIA: Yes, to be in debt, it can control your thoughts and stifle your creative process. But there are those that use the financial pressure to create. Some escape in their work and exit the thought of their financial obligation. As long as they don’t think about the money and only think of their creative process, there can be success. Balzac accomplished a huge body of work; he worked through the night avoiding his financial burden as he hid from his landlord. Just like everyone else in the universe I am in debt. There is nothing we can do about it. I feel like we were born with debt tattooed on our forehead. So, I blank on it and live as if today is my last. I speak as if today is my last. I work as if today is my last. That is the greatest gift about getting older, because we know today might be our last. The only future we have is this very present moment. There is a line from Janis Joplin - Me and Bobby McGee, “Freedom's just another word for nothing left to lose”. With nothing left to lose, the doors are wide open, go venture without the social restriction, escape the social prisons, and live your life. While working on a piece I might work it too much into ruination. The ruin piece opens the door to experimentation, because I have nothing left to lose. In our life there is no such thing that you own anything. “That Anything” more than likely owns you. The most precious gift in life is owning oneself. TPL: Your life story feels like a process of continuous reinvention through intuition, risk, and transformation. How do you reflect on that arc now, and what advice would you give to artists (or anyone) trying to build a life outside the lines? CYNTHIA: Back in the 1990s, I moved to Greece. I took the plane to Athens. I rode my bicycle to the boat. I took the boat to Heraklion, Crete. I spent most of the day riding up and over an arm of the Psiloritis Mountain. Once at the top, it took me 45 minutes to ride down the other side without a foot on the pedal. I had no idea where I was going. Without knowing anyone there and not being able to speak a word of Greek, all I had was my intuition. Being in an unknown land without knowing the language is going back to the basics. Each day, I would travel in a new direction. No map was needed, just the landscape. I knew where I had settled, left of the mountains and in the direction of the sun. One of the greatest life lessons I learned was while I was living in Crete. After all of my renovations, I still had no back door, and I was out of funds. For more than three days, I stressed out. How could I fix this? I had never built a door before. I did learn how to make a perfect batch of cement, but that was not going to help me build a door. After the panic attacks, I said, let’s examine a door, and in 45 minutes, I built a door with windows and all. Life is so much easier than we think; only the thought and worry weigh heavier than the action. Keeping life simple by being healthy makes everything possible. And never forget, we each have a monopoly; there is only one of us. Cracked Ribs - Isabella © Cynthia Karalla Cracked Ribs - Yard Angels © Cynthia Karalla Cracked Ribs - Angels © Cynthia Karalla Cracked Ribs - Candle Mirror © Cynthia Karalla Cracked Ribs - Girls © Cynthia Karalla Cracked Ribs - Fin © Cynthia Karalla TPL: You started a business at 19, made money, and walked away from it — much like you later walked away from architecture school and a high-paying design job. What were the motivations behind these bold departures, and how did they reflect your evolving understanding of freedom, risk, and creative integrity? CYNTHIA: I missed all of my schooling. Almost finished 7th grade, missed 8th, 9th and 10th due to the custody battle. After being tested for placement of which grade, they placed me in the 11th. After six weeks of 11th grade, we were back in court. That was then I decided no more and moved to New York to wait out the next two years for me to become seventeen. Without much schooling, because of the custody battle, I was not sure what to do with my life. My boyfriend at the time talked me into his dream, his dream to own a deli. We were so young that we had to make his mother president because we were only 19 years in age. We were located in a small town in Nassau County, Long Island, NY., across the street from a McDonalds. The McDonald's coffee was disgusting; we became the big seller of morning coffee. While we were going horrible broke, I decided to design the twenty odd salad trays by color, to peak the eyes of these coffee buyers. I went to Balducci, that wonderful place on 6th Ave and 10th St. in the West Village. I bought little containers of salads by color. Copied their ingredients by taste and captured the coffee buyer's interest. Before long there was a line out the door and then people just stopped to get inline without knowing why. Making money is easy. While we were successful in this business, it was then that I realized that we really owned nothing, it owned us. I needed something more challenging, so I left. From my early years of missing my schooling, I really appreciated being in school. The business was a good learning project, but it was concrete. You can’t move from it. Through schooling it opens the world. Knowledge within, you can move anywhere. I departed from the architectural school after I did four of the five years. It was difficult for the professors to understand that I went to school to learn, not for a piece of paper. Some schools advocate the paper and hope that you might learn something, some don’t but it is up to you what you do when you are there. At architecture school, I would ace design and fail on presentation, nine times out of ten I was still on yellow trace. Once a classmate asked me how I always ace it? I replied that it was easy, it is in all the books they prescribed for us to read. The boy looked at me confused, he never read the prescribed reading material. School is what you make it, the paper may be important for some, but the bottom line is what you learn, because school is just the appetizer to the main course. P.S — The most important card in your wallet is your LIBRARY CARD. Well now it might be Google and YouTube. In the field of architecture, I was on door and window details for almost three months before I was moved up. Being the youngest and the only girl on the design team was the dream job. In the work field it is not really how many degrees you hold, it all comes down to how good you are and that your bosses can make a profit off of you. I was lucky to have a project manager that once worked for I. M. Pei. The project manager, Paul was one of the designers for the National Gallery of Art in D.C., he had a very open mind. His words to me were always, Cynthia this is insane, so insane, it will work. The clients always loved it. The thing about design is that your mind is attached to problem solving, twenty-four hours a day. A drawing board is a must in the residence, or you will sleepwalk to your drawboard at work. The brain does not know how to stop. Right out of school I moved to a neighborhood where the seeds of gentrification were being planted. We really don’t know about gentrification when it is the printed word, but living through it is a real eye opener. Well, let me tell you about my hood; 51 of the 53 buildings burnt down to make way for the new money developers to build. One building we were able to save was filled with Grandmas and Grandpas, all above the age of 70. So many carted off to the hospital suffering from heart failure and scared daily. It was heart wrenching, that is when I started questioning what I am doing? Am I designing for people or the developers? This is when I left the field of architecture. TPL: Looking back on your path — from survival and rebellion to creative reinvention — how do these experiences come together in your art today? What have they taught you about transformation, and what message do you hope others take from the way you've chosen to live and create? CYNTHIA: “Photography is Dead” — These words of David Hockney are echoing around the world. I beg to differ; it is now getting interesting. Back when the camera first came into existence, the portrait, the landscape painters were, “What are we out of Business?” No, this brought in a new light, new ideas all the Art-isms were born. Artists had to think in a new way, because we had a new language and it is a visual one. Just as social media hit the airways, the portrait photographer was now being removed, as to what he thought the subject should look like, whereas now the subject becomes the author as to how they want to be presented. In the 90s, as soon as the digital camera hit the market, with one push of the button everything became Hallmark. Every time I bought a new digital camera, I spent the first day reading the manual and the second day breaking the camera to escape that Hallmark curse. I first started with the film camera, then on to digital, until I exhausted all possibilities. I return to film because there were so many more discoveries to be made. Building on the past knowledge but twisting it into the future. We all know what we should not do; the film negative is so precious, I splashed it with bleach, cut it in angles, shot during high noon, took sandpaper to Bergger fiber darkroom paper, sketched with a developer and shot with the shutter open for two minutes, all to transform the unknown into the known. This is one part of thought in transforming photography, but all of this comes from the transformation within oneself. There is a story I wrote during the pandemic about one of my escapes from the juvenile center, the one of me going out the third-floor window. After writing it, I thought, did I write this once before? I did, twenty years before. It was the same story but within those twenty years I had grown. The tragedy of the story now became humorous. The first writing of this story is still hard for me to read; the second writing is with the eyes of growth and the understanding of the world we live in. Every childhood is the perfect dramatic nightmare of their personal story or film. We are all blessed with the growing pains, and once we realize that it is the right of passage we can move on and grow, because we are all in this together. I will end this with these words from Muhammad Ali — “The man who views the world at 50 the same as he did at 20 has wasted 30 years of his life.” TPL: You mentioned that even breathing was painful, and yet breath became the central focus of your work. How did your body’s limitations translate into the visual language of the project, and in what ways did the act of photographing become a form of healing or resistance? With cracked ribs, breathing is the physical therapy to mend. So much in life we take for granted. We breathe without much thought about it, we breathe, we live, we don’t we die. This simple action took less time than trying to slide myself out of bed. In the beginning I asked for homeopathic medicine, the next day I was back asking for drugs. I was a mess in this beautiful land, the Sassi di Matera, in the Basilicata of Italy. My work is never premeditated, always experimental up to a point. With the basic knowledge of the workings of the camera, you can dive into experimental territories. In order to run you need to know how to walk first. So, learn the basics because there are no failures. Failures are the entryway to new ideas, to build on. The cracked ribs images were built within a few guidelines. The open shutter to possibly catch the unseen as movement versus the non-movement. The hierarchy of the project is the hard contrast between the light and the dark. It mimics the darkness we feel when our body is impaired, and the light is eminent on our road to recovery. In the past I had a bad accident, where all the doctors told me that it was going to be two years of physical therapy and a lot of drugs. I refused the drugs and their thoughts. In nine months, I was back in action. Through drawing and making art the pain would leave my thoughts, making my body able to relax and mend. The body is amazing as to how fast it can heal. I think what takes the longest is for the mind to heal. There are studies that are out there that state; It is Mind over Matter. Our mind is the owner of our body. We can fix our body through thought and image. Locking myself into shooting, developing, editing, helped me forget the pain and without the thought of pain, the body relaxes to heal. As life would have it, it was a negative that needed to be turned into a positive by making me think in a new way. And this brought about this series Cracked Ribs. Boredom is the word for Recharge! TPL: Boredom and isolation are often seen as negative states, but you describe them as a gift. How did the enforced stillness of recovery and the solitude of your time in Matera create space for artistic experimentation and play? CYNTHIA: Boredom is the word for Recharge. When I was studying at the Art Students League, I made an energy chart, so I could possibly understand my creative energy. Why some days everything flowed so effortlessly and other days NOT. My daily chart consisted of; What I ate? How much sleep? How many pages have I read? Fights with my Boyfriend? At the end I would rate my creative energy from what I produced in class. Then I started studying the masters; Matisse, Pollack, Barnett Newman etc. Our primary energy in one week is only 25 hours. Then we have second and third power through the rest of the week. Art makes us naked, it discloses how we live our life and what we eat for breakfast. Art is the telltale sign of the amount of strength we have in energy. Art is everywhere; you just need the energy to capture it. When in isolation you can hear your words in your head. We all have the creative gene within us. Some like to work in the turbulence, my preference is a much simpler way. Be healthy, only give your body the good that will give and not take away. This is my way to go down the rabbit hole and find Christmas. On lovely Matera — The people in Italy are fabulous, Fellini is everywhere, laughter can make cheekbones cry, and the sun shines the most beautiful light. At one time when I first came to the Sassi di Matera, because of my friend Dorothy, I wondered how anyone could live in such a predictable little city, every day the same, nothing new. I learned after a few years how predictability was a solid ground that you can build on and not be the flower victimized by the storm. TPL: You chose to shoot with a medium format Hasselblad using black and white film, with only twelve exposures per roll. What did this technical choice offer you, and how did the slow, deliberate nature of this process mirror or contrast with your personal experience at the time? Did the tactile elements — loading film, developing negatives, scanning — offer a kind of therapeutic ritual or structure during your recovery? CYNTHIA: Every day is like Christmas. Loading the film is wrapping the gift. Pushing the button is the unknown gift. Developing is the unwrapping of the gift. Viewing the results is “the surprise”. When we shoot at times, we have an image in our head of what we wanted it to be. In our everyday life we do the same. And instead, we get something else than what we envisioned, but the beauty is there, unfortunately sometimes we are too young to know it. Gary Winogrand left this earth with 2,500 rolls of undeveloped film. Winogrand would wait two years before developing his film; he waited those two years to erase the image and emotional attachment of what he wanted. His theory opens the door to see the unpredictable beauty that is in front of us. It is the camera that teaches us to see what is there. It is the same with life and the expectations that society deems as success, while we chase an image in our head, we miss the beauty of life itself. In six weeks, the pain disappeared like the flick of a light switch. Only because my thoughts were in the project, my body felt less pain as it healed. My dailies knew that without the cracked ribs I would have been shooting something else. So, the bottom line, it was worth it to crack my ribs. TPL: Time seems to play a significant role in both the subject matter and the method — long exposures, slow recovery, and extended periods of stillness. How did this sense of stretched time shape your understanding of breath, pain, and photography itself? Did the long exposures create unexpected results that reflected your mental or physical state in ways you hadn’t anticipated? CYNTHIA: Breathing was my daily recovery exercise that left me thinking all about the breath. I thought about catching my breath on film similar to an earlier project I did call, “Move, Don’t Move”. The past project was all about catching the energy of the people in five different situations. Through two-minute exposures the models sat in the company of a lover, family, work buddy, friend and then a solo shot. All the models picked their poses, some extremely difficult to hold for the two minutes. I was building on an old project. While busy with loading, developing, test scanning, and viewing, time passes quicker than one would like. Being locked into the present moment the mind does not feel the pain of cracked ribs. This was my salvation, filming. I know if I sat still, the pain would be unbearable. The objective is to move and breathe through the pain. The end result, without the premeditation and expectation of what it should look like, was all a wonderful surprise, just like life happening as it is. There was only one image that was redone to be pushed to a final image. Angels, we shot it one day. I developed the film, scanned it and sent it to the models. They all loved the image and were shocked when I said, “We must do it again”. The lighting can be better, and we did it, that was about as premeditated as I get. With my work I try to keep it as close to life as possible. That is the magic, bringing in real life instead of the imagination of what life could be. It is what it is and that is pretty special and that is what I want to capture, the unknown that is there, teaching us to see. Cracked Ribs - Hands & Basil © Cynthia Karalla Cracked Ribs - Basil © Cynthia Karalla Cracked Ribs - Happy 50th Birthday © Cynthia Karalla Cracked Ribs - Carla Face © Cynthia Karalla Cracked Ribs - Carla Flute © Cynthia Karalla TPL: Looking back at CRACKED RIBS now, how do you see it fitting into your broader body of work or artistic journey? Do you feel this experience changed your approach to image-making or storytelling? Would you ever consider revisiting this theme — through new technologies, writing, sound, or installation — to expand its impact and resonance? CYNTHIA: Cracked Ribs is consistent with all of my work, taking what negatives life dishes out and turning them into a positive. Remembering it is a learning gift from the universe, to make us think and see in a new way. My work has no visual stamp that says, “it is a Karalla”. Stamping out a visual is suffocating as it leaves no room to explore the unknown. Looking at a Picasso you know it is a Picasso; it has that visual stamp. But viewing Anselm Kiefer’s work it has that universal feeling without the visual stamp. His stamp is the power of thought and execution. My stamp is the thread of life that dictates the present. When I was bleaching my negatives, I was asked about the process that I was using. When I explained that I was using my original negative and not making a copy, there was a big gulp. Just as we venture in life, we do not make a copy of ourselves to live life. I wanted my negatives to be a part of life, to have that human element somehow attach itself to it. To be more than just a recording, to have the effects of life also attached to it. Through the ever-new technology that is forever changing by the second, in so many ways I still love the old school with modern thinking blended together. Not that long ago Dogme 95 was founded by Lars von Trier and Thomas Vinterberg. In short it was a movement for the directors to escape the movie producers and become artists. Their shooting style was raw, with handheld cameras and even the actors would have no idea what the script was about. It was all in finding the new, walking the edge of the unpredictable. Even Robert Altman with his actors in the film Mash, he let them find their own words to define the characters. Venturing into the unknown opens the doors of finding what we don’t know. So, trying new things is always an adventure. When I stop, I will be six feet under until then I will experiment forever, because I love Christmas. TPL: You live in New York City but maintain a studio in Newburgh, about an hour north. How does moving between these two environments influence your process — and what kind of commitment does it take to maintain a practice across both urban and more rural spaces? CYNTHIA: The contrast is night and day. NYC is rich in diversity; we love this city because of it. Manhattan is the greatest example that the whole world can live together in harmony. In Newburgh, when I first came here, I saw the division between black and white and just thought — No, I don’t want to live through this again, this is my childhood, Grosse Pointe meets Detroit. But and this is a very good BUT, there are a lot of artists moving up here and when you see the police officers being involved in community projects, it secures my heart. TPL: Outside of photography, what practices, routines, or passions help sustain your creativity — especially when you're not actively making work? CYNTHIA: I love Instagram because of the food recipes. My kitchen is the perfect place for playing in it. The first thing I do every morning is a smoothie. Most important is health, with health everything else is easy. I don’t drink alcohol or coffee. I feed myself things that are giving me the energy to play to see and catch the art of life. Also working on my home, I love my home. Right now I am working on the hallways. Hallways are magical, transitional from one space to the next. Most hallways are left blank, mine might be a bit over the top, but worth the walk. And lest not forget driving, I love the road. The road is therapeutic and over the top interesting. You are a voyeur on the road viewing the drivers’ naked personalities. It is another whole other type of art. You have your characters; the polite drivers and then your speed demons that just found the gas pedal. Lest not forget those that break the law always driving in the passing lane below the speed limit. I am driving anywhere between two hundred and five hundred miles a week and what I find that is most impressive is the women drivers behind the wheel. They are owning the road with confidence, not as our mothers or grandmothers riding as the passenger, those days are gone. We are living in the best of times. History is in the making as we have hit rock bottom with our political situation. The Road is open for new ways of life. All of life is Art. No matter what is thrown at you, throw it back as a work of Art. Art is not a job, it is a way of life. Just before Ed Kock’s passing. In a 2009 interview with The New York Times, former New York City Mayor Ed Koch stated, “I've had a wonderful ride. I've done what I wanted to do.” VIEW CYNTHIA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

THE URBAN RELATIONSHIP British photographer Tommaso Carrara focuses on the relationship between the human and the urban environment. THE URBAN RELATIONSHIP July 30, 2020 INTERVIEW PHOTOGRAPHY Tommaso Carrara INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE London is a bustling city full of life and color, stories and secrets. But beneath the hustle and bustle, a different side of the city emerges for those lucky enough to capture it with the right lens. Tommaso Carrara is one such photographer who has captured the hidden beauty and emotion of London's streets through his ongoing project of capturing silhouettes of people in the cityscape. As a security engineer by day, Tommaso spends his free time exploring London, camera in hand, seeking to capture a meaningful and mysterious representation of the human figure within the urban environment. His images are a stunning celebration of the human form and London's unique beauty. Join us as we explore the world of Tommaso Carrara and gain insight into his ongoing project of capturing the relationship between people and their environment. Practice does not make perfect. Only perfect practice makes perfect. - Vince Lombardi “Not only I am a perfectionist at heart, but I am also a firm believer that, besides from exceptional cases, most of us have pretty much the same capabilities. As such, in order to succeed, it is up to us to find what our skills are, understand them and improve as we go along.” IN CONVERSATION WITH TOMMASO CARRARA THE PICTORIAL LIST: Tommaso, when did you start getting interested in photography? TOMMASO CARRARA: I have always liked beautiful photographs, but I have never been interested in 'making' photographs. Until December 2018 when, following the end of a relationship, I felt the need to investigate my inner thoughts and try to somehow explain what was going on. This is when I bought myself a proper camera and began self-learning about how to actually operate it. TPL: Where do you find your inspiration to photograph? TC: Most of the times I find my inspiration just by walking the streets, in search of it. Some other times, depending on my emotions, I may look at the surrounding with different eyes as well. Last but not least, masters of photography are also a very important starting point when it comes to inspiration. TPL: Is there anything you want to express through your photography? What are some of the elements you always try to include in your photographs? TC: I do not generally follow a specific pattern while shooting as I tend to freeze a moment/person/situation that inspires me. I believe that inspiration may come from a variety of elements such as light, shadow, mood, feelings that cross my path. Therefore there is no such thing as a scheme of elements that I always include in my photography. At the same time, I cannot really say what I want to express through my photography. Often I do not even know what I am trying to communicate myself in the first place, and I would prefer not to influence the viewer. What I really care about is knowing that the viewer comes up with their own interpretation, which I think is the ultimate meaning of any form of art. TPL: What is your process when you are out photographing the street? TC: Generally, when shooting the streets, I am open to pretty much everything that draws my attention. As such, I do follow a limited number of patterns, but amongst these are surely trying to be stealthy and work the scene and wait for the right situation to present itself. TPL: Do you prefer to photograph alone or with friends? TC: I prefer to photograph alone for mainly because I see photography as a very intimate moment which also requires concentration and the lack of distractions. TPL: What is your preferred lens/focal length? TC: My go-to lens is the Fujinon 35mm 1.4f (50mm in full-frame terms) as it allows me to shoot in low light situations and at the same time keep some distance from the subject. My passion for photography started as a way of investigating myself after a key moment of my life. TPL: Who are your favourite artists/photographers? TC: My favourite photographers are Henri Cartier-Bresson, Joel Meyerowitz, Saul Leiter and Vivian Maier. Saul Leiter probably being the one who most inspired my style. TPL: Has your style of photographing changed since you first started? TC: Indeed my style of photographing has changed since I first started, and I expect it to keep changing with time. For instance, I used to shoot a tad wider but I seem to like narrower now. Additionally, it is not only the focal length, but especially the way I compose the photo. Now I am a little more careful and strive to as much as I can in camera, without the need to work too much on post. TPL: Where is your favourite place to photograph? TC: The streets of big and busy cities. More specifically London, which is where I currently live. TPL: What are some of your goals as an artist? Where do you hope to see yourself in five years? TC: My passion for photography started as a way of investigating myself after a key moment of my life. As this is not a source of income, I feel that I have the freedom to follow this path at my own pace. However, I do not exclude that photography may become for me a full-time commitment. TPL: Are there any special projects you are currently working on? TC: I have been working on two projects currently "Rough Details" (a collection of my favourite photographs from urban environments across the world in the form of silhouettes) and "Looking out of the window" (photo-series aims at documenting the many different ways people immerse themselves in their thoughts during this very intimate moment) TPL: If I wasn't photographing what would I be doing?... TC: Probably spending more time typing on a computer. VIEW TOMMASO'S PORTFOLIO Tommaso's website >>> Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

ABYSSES Glaciers are alive...fragile...and disappearing. Magdéleine Ferru shared with us, her up close and personal ABYSSES series of photographs. ABYSSES December 14, 2020 INTERVIEW PHOTOGRAPHY Magdéleine Ferru INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE From the glistening depths of the icy depths of glaciers, to the unique artistry of a photographer capturing the beauty of a melting world; Magdéleine Ferru, known as JustMagd, invites us on a journey that delves into the complexity of human nature, identity and time. Through her captivating photos, she not only captures the breathtaking beauty of glaciers, but also reveals their frailty and the inexorable passing of time. Whether through handmade art books or different art techniques, each of her projects is an exploration of emotions, body and death. Follow her on an intimate journey to discover the hidden secrets of our planet's glaciers and experience the vivid beauty that lies beneath the surface. “I had done some ice climbing, and glacier exploration in New Zealand a few years ago, and I remember the immensity of the ice wall, the blue, the light shimmering through….definitely a fairy tale world. When I got the chance to embark on an adventure to walk on and 'in' a glacier in Alaska, I jumped on the opportunity. I was amazed again at the beauty and greatness of such a natural wonder, but suddenly got aware of its frailty. I could see bubbles and sediments, air and rocks imprisoned in the ice. Glaciers are alive...move, change, melt…they are huge. By taking close up, we lose the feeling of scale. I wanted visually attractive pictures, to get the viewer's attention; its abstract and beautiful. Now come closer, feel the ice, you might never be able to see this again, because its disappearing. They are not huge anymore, instead they are very fragile.” IN CONVERSATION WITH MAGDÉLEINE FERRU THE PICTORIAL LIST: These days, when we see landscapes of ice, there is always a bit of a wistful sensation for the viewer. A fear that it might all disappear because of climate change. Does this play a role in your project? MAGDÉLEINE FERRU: In the series Abysses, definitely, yes. I have had the chance to travel around and over just a few years, I can tell a difference in landscape due to the climate change. If some of my projects are light minded, and dreamlike, some others are made (at least I try to) to awaken the viewer, to make oneself questions all the assertions one believes in, to challenge what one knows (human condition, climate change, etc…) I wish people could understand that just turning of a light when they leave a room, unplugging phones/computer/turning off a TV when they are not in use, being careful with their water consumption (shorter shower, closing tap water when not using it, etc…) recycling, using public transportation (when possible), are huge steps, and if everybody was just doing this simple gesture, making it an habit, a part of their everyday life, it would make a difference. It is just a matter of respect and education. TPL: Magdéleine please tell us about yourself. How did you become interested in photography? MF: My father took a lot of pictures, always in slides, and what a pleasure every time to take out the projector and the screen. It’s like a ritual, a kind of gateway to the forgotten world, before literally stepping back into the past. Travel and photos entered my life, one then the other, then never one without the other. I began shooting with films. The happiness of discovering photo appearing in the developer. Then I went digital during my first long journeys. I worked odd jobs and traveled, inventing myself a new life on every different part of the world, taking inspiration, breathing in life. South of France, my parent’s home remains my forever home. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? MF: I explore feelings, I explore matter: identity and society, human nature, our natural or urban environment, and their relationships, which intertwined in my photographs. Reproduce reality with a touch of utopia. Sometimes the other way around. Bittersweet thoughts. So if my travels and my various experiences continue to animate me, people and body (especially the female body), are regularly found at the center of my work, often dreamlike and delicate, sometimes daring or provocative. The human presence is either clearly visible, or just suggested, as most of my projects question the human (relations, print on our natural world, everyday life, etc..), but also myself, who I am and what is my place in the world. TPL: Where do you find your inspiration? And do you have a favourite place(s) to photograph? MF: My ideas are inspired a lot by what I have been/am going through, and how I feel. I am very sensitive and emotional. Sometimes just a person, a light, a place, a word, an event, a sensation, even a film or a song will inspire me. I am quite sensitive to fairy tales, magical stories, and fables from my childhood. The inspiration and the resulting project can be quite spontaneous. I let myself be surprised by a moment, a situation. I watch the light, if I see something that I like, I go out to take pictures, or even just admire and enjoy the moment. It is also good for inspiration to let yourself relax and look at the gleaming moment. I love photographing snowy landscape in winter light, everything is so quiet and white. You never really know what you’re going to see but the magic surrounds you and makes you enjoy every second of the trip. No matter how many good photos you took the moment is always full of wonder. TPL: Do you have a concept in mind of what you want to photograph, or do you let the images just 'come to you' or is it both? MF: A bit of both really. I have images that come to mind, or in dreams. I take notes, sometimes I make small sketches of the scenes before rendering them into photography. As I said earlier, sometimes something catches my eyes, and I take pictures, not knowing exactly when or for which projects I’m going to use them. I have long term projects that I’m working on, so, I kind of know what I want to show, and what I want to do, coincidences does the rest; definitely a mix of thinking, chance and random opportunities. Les voyages forment la jeunesse. (French saying: To travel makes the young become who they are). Living elsewhere, learning different languages, cultures, traditions, discovering other beliefs, religions, ways of life…Witness other's life. To be an observer, but also to feel. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MF: When I was a teenager, I loved watching fashion shows on TV, especially ones from Jean-Paul Gaultier (it was always magic, spectacular and extravaganza!), and I loved circus and dance shows/movies. I discovered just a few years ago the work of photographers like Kirsty Mitchell full of wonder, reminding me of the illustrations from my childhood books. As I grew up in my practice, I became more interested in photographers like Kyle Thompson or Nicolas Bruno (staging themselves, showing their vision of the world) and multi disciplinary artist like Kelly Webeck, Anne-Lise Broyer, Sara Skorgan Teigen (sketchbook/journals, mix media). I have also met so many great artists during artist's book fair. The workshops I did with Claudine Doury in 2018 really influenced my style, helping me finding my personal language and photographic identity. Richard Petit and Fabienne Forel also helped me each in a different way, in developing my own artistic vision. Richard Petit gave me numerous advises on editing and building a series, while Fabienne Forel introduced me to the art of cyanotype. She is a great artist's book creative as well and it’s always a pleasure to exchange words with her. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? And why? MF: "Enjoy each breath, make the most of each second. Basically life is now, not yesterday, not tomorrow. Never give up." I’m a true believer of dream coming true, if you try enough, if you want enough, if you give enough of yourself. Just believe that it can happen, believe in yourself. I was talking to my dad the other day, wondering why going through all the difficulties of "do it yourself" when I could just buy it; he answered, "it's called ambition"; it makes me happy and proud and that's what matters. And of course "Live, Love, Laugh" - the most beautiful and important things to do for a happy life. 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? MF: It depends a lot of the project I am working on. I like to go back to a film practice for some projects, especially polaroids, Diana (toy camera) medium format, or old instamatics. I am working now on a long term project, kind of a journal of feelings and for me to achieve the 'right now vision' that I want to express, I want to use my polaroids; the medium here defines the all idea; it has to be instant; it has to reflect the mood, the moment. My digital camera is Nikon D7200, mainly one lens Nikon 16/85. It’s perfect for my practice, when I have to be fast, in focus, and ready, or when I want to experiment and play with exposure/lights, photoshop enhancing, etc. TPL: Have you been involved in the artistic world before or other than photography? MF: I am mixing more and more my photo projects with the art of book and with different 'plastic art' techniques (collages, overprinting, mix media, etc…). I create, recycle, incorporating matter into my visual work. I have taken workshop 'book sculpture', and different techniques of book binding. I have participated in a few artist book fairs. I’m working on a project for the next Délires de Livres (artist book exhibition) and in the middle of creating a piece for the series Abysses. I have always been very drawn to books and beautiful illustrations. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? MF: I would like to be able to move forward in many of my projects, and have more time to spend in the dark room. I would like to experiment more ancient photographic processes (cyanotype) and pinhole camera, play with chemicals, and develop my own technique. I would like my work as a visual artist to be recognised as a full time job (so that people stop telling me "But you have time, you don't work". It is work. I would like to succeed in exhibiting my photos in a large gallery or at a festival dedicated to contemporary photography. To be able to live off my art. I warmly thank my family who have always supported me. My parents, my brother and my boyfriend who let me live my dream, who help me and follow me in my wildest ideas. I love you guys! All the people who have trust me over the years, and who encourage me to never give up. My photographer friends who are always here for a question or advice and with whom I am always learning something. A HUGE THANK YOU to all of you! Thanks to The Pictorial List for the interview! VIEW MAGDÉLEINE'S PORTFOLIO Magdéleine's facebook >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. EVERYDAY BLACKNESS A Celebration of Strength, Legacy, and Unity March 23, 2025 INTERVIEW PHOTOGRAPHY Parvathi Kumar INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Parvathi Kumar is a visual storyteller whose work spans the genres of art, documentary and advocacy. Her book ‘Everyday Blackness’ uses portraiture to amplify the underrepresented voices of Black women and celebrate their contributions that enrich the human experience. Born and raised in eastern Canada, Parvathi developed an early love for photography under the guidance of her mother, mastering film techniques before transitioning into digital storytelling. Her artistic journey spans over three decades, blending her technical expertise from a career in IT with an innate passion for visual narratives. Now based in Bridgewater, New Jersey, Parvathi has established herself as a professional photographer with an impressive exhibition history across the United States, Europe, and Asia. Her work has garnered awards and recognition, not only for its aesthetic depth but for its commitment to fostering cultural awareness and social connection. ‘Everyday Blackness’ captures the dignity, strength, and complexity of everyday individuals, offering viewers a window into lives and experiences beyond their own. Parvathi’s book is a profound tribute to the resilience, and contributions of exceptional Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month (IWM). Her authentic portraiture, along with the personal narratives of her subjects, tells a powerful story that highlights the lives of 25 remarkable Black women from New Jersey and New York. These women who, despite systemic barriers, have forged paths as leaders, educators, entrepreneurs, veterans, and advocates. This work is more than a photography book; it is a historical and cultural document that addresses and hopes to counter erasure and misrepresentation. Black women have long been the backbone of their families, communities, and movements for justice, yet their stories are often overlooked. By centering them in her project, Parvathi not only acknowledges their individual journeys but also emphasizes their collective impact on society. The book’s warm, monochromatic portraits and thoughtful interviews create an intimate space where these women’s voices can be heard and celebrated. Their stories reflect perseverance in the face of adversity, offering hope and inspiration to future generations. For IWM, this book serves as a powerful reminder that the fight for gender equality must also address racial justice. It urges us to see the interconnectedness of women’s struggles and triumphs, reinforcing the IWM message that progress for one woman is progress for all. Parvathi Kumar’s work is an opportunity to step outside our usual circles, listen deeply, and recognize the value in diverse experiences. As the world celebrates women’s achievements in IWM, this book stands as a testament to the power of photography in honoring those who have long been at the forefront of change, yet too often remain unseen. “I didn’t want to include celebrities or public figures; though of course impressive, they already have a spotlight. I wanted to feature women who are more relatable, approachable, and who deserve the attention for simply being who they are – hardworking women of color who quietly serve, dutifully taking care of the community in their own ways and resolving serious matters that we often don’t think about. The stereotypes of being uneducated, unaware, weak, aggressive, lacking, or unmannered simply do not hold up. I was able to meet them in their homes, work environments, and other settings reflecting who they are and what they do. It was the simple act of having a conversation and interaction – something sorely lacking in our society today between people who are ‘different’ – that quickly revealed how authentic and relatable they are. In their default mode of modesty and service, many of them were surprised and skeptical as to why I selected them, and I had to remind them that they were more than what they know, exactly the subjects I was looking for - ordinary yet extraordinary. Later when seeing themselves in the book and on elegant gallery walls, they were overwhelmed and delighted.” IN CONVERSATION WITH PARVATHI KUMAR THE PICTORIAL LIST: What initially inspired you to create this book, and how did your personal background shape your approach to documenting the lives of Black women? PARVATHI: The horrific and unforgettable loss of Mr. George Floyd’s life in May 2020 was the inspiration and catalyst. At the time, I was taking an online class through ICP on Visual Storytelling, so the seed for my project and initial photos began there. The idea was to create an antidote to the pain and suffering we were collectively feeling from the tragic event. By celebrating Black culture and specifically everyday Black women with joy and pride, we could learn to banish fear and misconceptions. The work carried on well after the course ended, culminating in a self-published photo book. I began in June 2020, and my goal to release the book in time for February 2021 – Black History Month – was accomplished! The book is now in circulation at two NJ public libraries, is part of an independent Black-female-owned bookstore in Bayonne, NJ, had its inaugural full-scale exhibition in February 2022 at the Visual Arts Center of NJ (I wanted nothing less for the women featured and am grateful to curator Mary Birmingham who invited me to exhibit and shared my vision), and is now in the hands of many readers around the world. I am humbled and honored that this work is touching many hearts and minds. I have always felt injustice and inequality deeply, perhaps because I am a Libra (the symbol for balance, harmony, equality) or someone who is a “visible minority”. After what happened to George Floyd, and knowing that art peacefully protests and raises awareness, there was an urge in me to create. With many years of photography and photo book design experience, I had the skills, resources, and tools to make it happen. When the idea for the book sparked, I ran with it. TPL: What was the most surprising or moving story you encountered while working on this book, and how did it impact you personally? PARVATHI: In terms of surprising stories – and in a good way – two of the senior women told me that growing up they never really experienced racism or discrimination, that their childhoods were generally happy, with good education, and the neighborhoods where they grew up were nurturing and warm. They only encountered racial issues later on in life in their work when trying to help those less fortunate. I was moved by Simone Gordon’s story, a young single mom to an autistic son who was giving back to many other women in need through a direct giving program she founded. Though Crystal Ramsey was diagnosed with HIV in 1991, lost her young son to HIV, and later lost her vision because of HIV medication, she overcame, pursued an education, and now helps others dealing with the illness and other trauma. Not only were the women’s stories eye-opening, but the additional related research and reading I did on Black history while forming the book were also astonishing. I highly recommend reading 'The 1619 Project' (link at the end of interview). TPL: For International Women’s Month, your book serves as a powerful reminder of Black women’s contributions. How do you see it fitting into the larger conversation about intersectional feminism? PARVATHI: Their contributions should definitely be included in wider discourse. Women face multiple barriers all the time. Based on the women in the book, to be someone “of color” and HIV positive, physically disabled, previously incarcerated, or other identity factors is to have to battle through additional barriers often needlessly. So, discussing these topics would create awareness on multiple levels, educate about different forms of discrimination to improve acceptance, and make visible the great contributions of diverse members of society. If I ever extend the series, I hope to include women who are also in the LGBTQ+ community, biracial/multi-racial, on the autism spectrum, and having other identity facets, all to further promote intersectional feminism, and to avoid potentially harmful misunderstandings. At the time of this published interview (March 2025), we are dealing with a US President who seeks to make diversity a “bad word”, thus making it even harder for women of color to rise up, which is all the more reason to push back and promote these women. Blair Murdock - “Things I see in the world can be frustrating and infuriating. But you have a choice of how you’re going to respond. You can dwell in sadness, or you can do something with it and so I choose to write songs, speak through music, and send a positive message because at the heart of all this, we just need to see people as humans, and start loving people. That’s what I’m doing to stay positive, to see the good, and to try to be the good that I want to see in the world.” © Parvathi Kumar Pamela Poncé Johnson - “I’m an optimist, and I feel that there’s more good than evil. People just need to be able to have conversations and get to know others. We have to start taking care of each other, even if it’s just the neighbor down the street or somebody who’s not from your community, because when you step outside of your own community it is very powerful. You start to look at people differently, not as ‘them’ but more like ‘us’.” © Parvathi Kumar Kisha Pinnock - “Trying to stay positive is just unplugging, enjoying loved ones, creating experiences and not taking life so seriously. People are losing their lives over nothing. But I try to stop and love and enjoy all those around me. If I do unplug, then I have more energy for the next day. Your brain needs to rest and stop. Self-care is important.” © Parvathi Kumar Tamiko Hubbard - “I’m just one in a long line of African American women in my family whose goals are to be there for their family, and to love their family, as well as their extended families. Through Sweet Reads, I think of being able to provide love in the form of books, and in helping people to realize that we are all connected.” © Parvathi Kumar T’Anna Kimbrough - “Whenever my time it is to leave my body, and to go on to another life, I just want to be remembered for the good and that I tried. And that I succeeded by touching people and changing their lives. Also, always be unapologetically you, believe in yourself, and in your capabilities. Don’t doubt yourself, ever. You are capable, far more than anybody thinks you are.” © Parvathi Kumar Desiree Washington - “Be yourself. Be true to who you are. Live with truth because a lie doesn’t stand. Only truth stands up and it stands tall and bold and sets people free. So, to be your real self, you have to walk in truth.” © Parvathi Kumar Dr. Brenda Smith - “Hard work was no stranger to me, having grown up with parents who worked hard, but I just worked hard to prove myself. And that was a great challenge.” © Parvathi Kumar Simone Gordon - “Pay attention to a black woman - you might learn something.” © Parvathi Kumar Dr. Marilyn Giorgi - “I am a strong believer that we just have to keep going and that’s why I mentor; to make other young people know they can do this. We can get there. I’m here, so more of you can get here and when you do, pull somebody else up with you.” © Parvathi Kumar Crystal Ramsey - “Whatever life deals you, don’t give up. The HIV virus has been living with me for 35 years, and society said should have been dead. But I just don’t give up and I have that drive. It makes me get up in the morning and just put one foot in front of the other and do whatever I need to do for the day.” © Parvathi Kumar TPL: How did you go about selecting the 25 women featured in your book, and what qualities drew you to their stories? PARVATHI: Of the 25 women featured, I included only one woman who I knew personally prior to starting. I wanted to allow myself new connections, to prove that these gems of Black women existed and were just a matter of finding. Some of them I had read about or heard speaking at events, and I approached them myself, requesting their participation. The majority were by networking through friends and contacts, and who in turn referred me to other women. If I had had the budget and the time, I would have flown to various corners of the USA (if not other countries) to include women from other geographic locations and areas of work. But as we know, 2020 was the lockdown. Though I was limited to travel mainly within drivable distances, I saw this as the silver lining, the blessing: I knew that in my own backyard were countless Black women just waiting to be discovered, and though 25 is barely scratching the surface, they represent many others just like them. I deliberately chose women of all ages and career paths, of different life journeys and experiences. I was drawn to how each woman was quietly going about their work, contributing in massive ways to the betterment of communities, and I knew that each has a remarkable life story just waiting to be heard. When interviewing I mainly had two questions: 1) What is your life story that brought you to where you are today? and 2) In the context of the Black struggle in the US, what would you like to share with the world? TPL: Each portrait is presented in a warm monochromatic tone. What was your artistic and emotional intent behind this choice, and how does it reflect the essence of these women? PARVATHI: I chose the warm sepia style for several reasons. Firstly, it is aesthetically pleasing, reflecting the warmth of the beautiful souls of these women. Secondly, when viewing monochromatic imagery, the viewer’s experience becomes interpretive, with focus on form, composition, and content – in this case the person. Viewers can read about each woman, and without the distraction of color can reflect and connect with each woman’s story and message. The various “shades of gray” allude to the many layers, nuances, and facets of one’s life. Another important reason is historical: the sepia tone pays homage to and honors the countless inspiring Black women who’ve come before us spanning 400 years on North American land, from the generations of slaves to the Civil Rights activists to today’s elder contemporaries on whose shoulders we stand, whose sacrifices and toil have brought us to where we are now. In turn, these 25 women are continuing the work, leaving a sound legacy and example for future generations to rely on. Finally, a strong reason for the monochromatic tone is as a subtle reminder that we are essentially the same, that within this shell of a human body with diversity of eye color, height, nose shape, tone of voice, and skin color, we have the same beating hearts and blood types coursing through our veins. We are more alike than not. And, if we truly know our history, understand evolution and the roots of homo sapiens, we are all African. I wanted each woman to be my collaborator, to give their input on how they wanted to best be portrayed in the context of their story. TPL: You conducted personal interviews to accompany each portrait. How did those conversations shape the way you photographed each woman? PARVATHI: Historically, Black women had never had a say in matters, their rights coming last if at all. For this project, while I had photographic control and could direct positioning and lighting, I wanted each woman to be my collaborator, to give their input on how they wanted to best be portrayed in the context of their story. Hence, the photos are generally environmental portraits, highlighting their professions, contributions, talents, and skills. The conversations built an important bridge between us, one of trust and understanding, so the women felt comfortable being photographed. They knew that through this project and its exposure, they were being respected, listened to and heard, something that is a constant struggle for Black women far and wide, especially in the most difficult times as a nation. TPL: What were some of the biggest challenges you faced while creating this project, whether artistically, logistically, or emotionally? This was a labor of love from start to finish, from photographing, writing, researching, designing, and self-publishing. While I had previously studied book design and had done my own personal book projects and writings, I was fortunate to have editors help me with reviewing text, photos, and layout. Still, it was an arduous process of finding the best sequence and flow of images, arranging and rearranging mock-ups of pages until it all felt right. Artistically, creating portraiture using the medium of photography is unique and challenging in that from one single vantage point at a time, in a fraction of a second, one must convey the essence of who someone is, reflect their stories, and render them so that viewers may connect with them on a meaningful level. I hope I have done that! Psychologically and emotionally, it was difficult to hear the women’s thoughts on George Floyd and about the Black experience in general. It is hard to reconcile, given all that has happened before and after Mr. Floyd’s death. We have such a long way to go – that’s the burden. TPL: How has your multicultural upbringing and diverse experiences shaped your views on allyship, identity, and the importance of standing in solidarity with marginalized communities? PARVATHI: My parents immigrated from Karnataka (a state in southern India) to Halifax, Nova Scotia in the 1960s where I was born, and later settled in Montreal, Quebec (a predominantly French-speaking province) where I grew up. At home we spoke our mother tongue of Kannada (an official language of India), while being engulfed by French and English. The public schools I attended in Quebec were welcoming, diverse, equitable, and inclusive of students of all backgrounds. I have lived in the northeastern US since 1998. I have thus always resided in generally multicultural, progressive, and open-minded milieus. What a blessing to have learned multiple languages, have friends of all nationalities, and be able to continue honoring my Indian traditions and culture! Multiculturalism and diversity are all I’ve known, what I’ve always appreciated, and am grateful for to this day. As a woman of color, over the years I’ve often found myself to be the only ‘visible minority’ in various groups, activities, and organizations I’ve been involved with, though I’ve thankfully never faced any major hindering discrimination. Hence, I have high standards and expectations on how communities and associations should respect and give voice to all present, especially to visible minorities and those marginalized. Therefore, I will always stand in solidarity with Black women and those who need to be heard most, particularly in the darkest times. Allyship is important, because what affects one affects all. It is our collective experience and history. Black history is our history. Working on this project and documenting the women’s stories further confirmed that ‘caste’, ‘race’, nationality, disability, spoken accent, and other external differences should have no bearing on one’s success. I continue to question, correct, and/or shed my own biases and any wrongly preconceived notions, and realize that there is much I still don’t know! May we be gently curious about one another, and delight in what we discover. Karen Delk - “Stay steady, follow your course, speak your truth and be authentic.” © Parvathi Kumar Morgan Johnson - “Although we are said to be this progressive country, we haven’t come that far from segregation and slavery. And things need to change. I understand that some people don’t believe in protests or think they can’t be a part of the change. Sometimes they are resistant to change because it seems like it’s such a boulder to move. But if everyone does a little bit, we can move it together.” © Parvathi Kumar Kristine Smith - “Don’t be afraid to be different. Take the road less traveled, stand for what you believe in. And even when things seem tough, keep pushing forward. I wouldn’t be here today if I had let people’s words sink in. Stay grounded in who you are, continue to believe and help grow yourself and don’t be deterred by the distractions.” © Parvathi Kumar Susan Hairston - “We have to balance what’s good for one with what’s good for the other because we’re all connected. And if we’ve never seen it before, now is what Covid has shown us. I’m asking for that kind of paradigm shift, because we’ve been driven to be so consumer, so all about me. Let’s be more about us.” © Parvathi Kumar Annette Scott - “I educate the vulnerable population because sometimes they believe they are inferior, and I don’t want that. We are the same, and we have the same goals. Even with labels, you can still achieve. And you can turn around and make a difference for somebody behind you. And that’s what keeps me going. I try to bring a different light to them for the short time that I’m with them.” © Parvathi Kumar Barbara Flythe - “There are lots of places in the world where love happens every day, where people are caring and compassionate. All around us, Covid has increased awareness of our responsibilities to support one another. In the midst of the crisis and suffering of the pandemic, people are creating new ways to live their lives with meaning and purpose. I really am an optimist.” © Parvathi Kumar ingrid alexander - “Find your light. We all have that light within us regardless of what our circumstance may be looking like right now. We all have to try to find it and never let anyone dim it. I always greet each person as the light he or she is.” © Parvathi Kumar Whitney Smith - “If we want this world to be a better place and good for us all, we’ve got to be the change that we want to see, so basically, it starts with us. I can’t blame everybody else. I need to look at myself and check my biases. I often ask myself: what am I struggling with, what are some things that are holding me hostage? I always assess myself first and transform those things to be a better me for this world. We have to be the change we want to see, and that starts with us first. © Parvathi Kumar Alexandra Maye - “As I navigate our demanding health care arena as a Black woman and registered nurse, I place my wellbeing first. I surround myself with positive affirmations and people, confidently speak up for myself, and let my light shine while passionately advocating for my patients and colleagues.” © Parvathi Kumar Kim Gaddy - “I live each and every day knowing that I can help people change their outlook on why the environment is important, why their health and whole existence is connected to the environment. We have an obligation to be better stewards of this land to leave it better off than how we found it.” © Parvathi Kumar TPL: How do you think projects like yours can contribute to broader discussions about race, gender, and equality in today’s world? PARVATHI: There’s no going back in terms of social integration and equality, despite efforts by the current US administration and other foreign governments to do so. It’s simply unconscionable in today’s world. The hope is that viewers and readers would probe into their own history, rationally reflect on any lingering biases or prejudices, examine their surrounding communities’ attitudes and behaviors, and take steps to rectify, repair, and improve; be curious rather than judgmental, open-minded rather than closed, or at least tolerant if not completely accepting – live and let live. Clearly, action is still needed worldwide to let diversity safely thrive. Thankfully progress has been made and there is room for further advancement. Perhaps through this project, others will be inspired to create similar endeavors so we can further be enlightened. TPL: If you could continue this project in a different way or expand upon it, what would the next step look like? Would you consider featuring more women or exploring similar themes in another format? PARVATHI: As mentioned in an earlier question regarding intersectional feminism, I would widen the mix of Black women featured by including those who are LGBTQ+, multi-racial, of other countries settled here, and other layers of identity to get that variety of perspectives. It would also be nice to venture further than NJ, to meet and promote the outstanding women beyond my vicinity. I would add more digital content, with a dedicated website that includes audio and/or video of interviews with the women, behind-the-scenes moments, and other resources. A physical, tactile book is always special, and perhaps another volume would be in order. Or I can revisit these 25 women in the coming years and produce a “Where Are They Now?” special edition! I would love to do a similar series promoting Latina women, Native American women, autistic women, and other minority groups who are overlooked, underrepresented or unfairly represented. TPL: Who, and what inspires your visual storytelling? What do you hope you inspire in others? What do you want other people's takeaway to be? What is your personal takeaway? PARVATHI: There’s something about photography as the medium for visual storytelling and portraiture that is captivating. Photos transcend what is shown. The photographer can portray someone’s likeness yet leave much to be discovered, interpreted, and experienced by the viewer. Portraiture and documentary photography are genres I’m drawn to, for the artful and lasting impressions they leave. The work of many documentary photographers and photojournalists past and present have inspired and influenced me: Elliott Erwitt, Gordon Parks, Dawoud Bey, Raghubir Singh, Raghu Rai, Nikos Economopoulos, Lynsey Addario, Maggie Steber, Graciela Magnoni, and many, many others. In the process of doing this project, I learned more about Black women photo artists who I’d be remiss to not mention! Latoya Ruby Frazier, Carrie Mae Weems, Deborah Willis, Cherris May, Polly Irungu, and the Black Women Photographers collective! I hope people are inspired to achieve, to pursue their goals despite outside obstacles, and to be open to ask for support from those who’ve already overcome similar challenges. In turn, I hope those who’ve found success may pay it forward and help those trying to find their way. Others may feel inclined to join causes for justice, or for building and maintaining peace. Perhaps just learning to quiet the mind and maintain one’s own peace is enough. Inner peace leads to outer peace. The way in is the way out. I hope readers come away feeling less fearful of the ‘other’, to ignore the negative voice in the head that knows nothing, remembering that mutual respect, and simple conversations can offer insight and create fruitful and meaningful bonds of friendship and trust. In my many travels over the years (India, Japan, Nepal, Turkey, Mexico, Morocco, across Europe, and more) and having lived in Denmark for a year in my 20s, staying and meeting with locals in foreign lands is an immediate and delightful way to rewire the brain, step out of the usual comfort zones, and become more creative and accepting of new ideas. No matter how many books one reads on a subject, talking to an individual can often be just as, if not more worthwhile. During the release of my project in 2021, I also learned of the ‘Human Library Project’, which is exactly what we need – a way to remove judgement of others through safe discourse. I’ve also been involved with ‘Servas International’ for over 25 years, a nonprofit member organization that builds peace and cross-cultural understanding through day visits or overnight home stays. I’ve stayed with locals in various countries and have hosted many travelers from abroad, each time delightful in exchanging views, experiences, and learning about our shared humanity. I also hope, with respect to art itself, that people see that one needs no permission to take up space, to create and self-publish a book (or any artwork or project), and share it with the world. It is a matter of taking that first step for an idea that you know is aligned with your Truth, of persevering and finishing, and trusting that good will come of it. I never expected to have the reach that this book had, the beautiful inaugural exhibition and subsequent exhibits, the immense warm response and support. If you follow through with an idea born from the heart, the Universe will step in and lend a hand. I am ever grateful to have been privy to that. We have more in common than not, we are all connected at a deeper level – a fact forgotten and overlooked due to man-made/mind-made madness, causing needless suffering and tragedy. May we learn to see and feel the same Presence within each other. Ultimately there is no separation. In making this project, I came upon beautiful related quotes by Black women writers and poets, and the ones that touched me are: “We are each other’s harvest; we are each other’s business; we are each other’s magnitude and bond.” – Gwendolyn Brooks (1917-2000) “We are the ones we’ve been waiting for.” – June Jordan (1936-2002) We’re in this together. If we listen to that unwavering small true voice, we all have deep within, it will lead and guide us to good, for the benefit of all. At the end of the day, we are only here for each other. We are One. VIEW PARVATHI'S PORTFOLIO Buy book >>> Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

THE STUDY OF LIFE Through her photography, Jo Kalinowski has allowed herself to discover an emotion or thought that has connected her past to her present. THE STUDY OF LIFE June 12, 2020 INTERVIEW PHOTOGRAPHY Jo Kalinowski INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For Australian photographer Jo Kalinowski, her photographs are a process of understanding parts of her life that have been defined by living or existing in different places. Isolated feelings and experiences that do not necessarily need to be attached to a particular place or location. By creating compositions of everyday things and the study of human life through her images, Jo has allowed herself to discover an emotion or thought that has connected her past to her present. Jo has fused her worlds together, subconsciously disconnecting fragments of time. “I was surrounded by art and photography from a young age, though my own personal journey as a photographer began only four years ago.” IN CONVERSATION WITH JO KALINOWSKI THE PICTORIAL LIST: Jo, where do you find your inspiration to photograph? JO KALINOWSKI: I find my inspiration all around me. I am inspired emotionally and visually from everyday scenes, music, interactions. I am inspired by light, shadow, color and forms, finding the beauty in the most ordinary. Connecting with fellow photographers all over the world has been hugely inspiring. A strong visual literacy has continued to build through relationships with these photographers whose practices vary in content and technique. TPL: Your images share a feeling of intimacy. How do you manage to achieve this so consistently? JK: Gosh that's a hard one! I aim to create scenes around the concept I am investigating. The intimacy comes from the need to express ideas with a creative approach to getting at something deeper than our common notions of family photographs. TPL: Do you have a favourite place(s) to go photograph? JK: I love the challenge of shooting in different environments. It is how I have learnt different skills. I honestly don’t have a favourite place to shoot. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? JK: Artists such as Rothko, Jeffrey Smart and Matisse are just a few that have inspired me greatly. Photographers such as Martin Parr known for his photographic projects that take an intimate and gentle satirical take on people and their cultures. Nan Goldin, known for her deeply personal and candid portraiture, Sam Abell, and the list goes on... TPL: Has your style of photographing changed since you first started? JK: My style of photographing has most definitely changed. When I first began this journey a few years ago I created minimal and urban images, finding that beauty in the mundane. These days I am drawn to documentary photography. Creating scenes around a concept I am investigating, capturing candid moments that tell a story, preferably triggering the viewers mind to see something beyond the image itself. My style is constantly evolving. I am inspired by light, shadow, color and forms, finding the beauty in the most ordinary. TPL: What characteristics are needed to become a 'good' photographer? JK: Imagination, curiosity and a creative mind. TPL: You told us that you once were a hair stylist and an artistic director for 15 years involved in shows and magazine work. Do you think that influenced your focus on details that is evident in your photography? JK: Hairdressing was definitely my first creative journey and one that certainly sparked my eye for fine details. More recently I have been influenced through my own personal photographic journey creating minimalist style fine art photography. Connecting with fellow photographers all over the world has been a real joy. A strong visual literacy has continued to build through relationships with these photographers whose practices vary in content and technique. TPL: Do you think equipment is important in achieving your photographic vision? What would you say to someone just starting out? JK: I use a Canon 6D with a 50mm lens or my new favourite 28mm lens. I use a Canon Speedlite 430EX 111 flash when I want to add a sense of dramatic lighting making the photo seem more theatrical. To someone starting out I would say the camera does not make the photographer! TPL: Are there any special projects you are currently working on? JK: At present I am working on an ongoing project connected to my work in a residential aged care facility. Capturing still life moments, I aim share aspects of lives of residents through images of their personal treasures, to share the beauty and the riches or their unnoticed worlds. TPL: "If I wasn't photographing what would I be doing?... JK: When not photographing I am working; a mother of two teenage girls and being a wife!" VIEW JO'S PORTFOLIO Jo's website >>> Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. TALES OF A CITY December 13, 2023 INTERVIEW PHOTOGRAPHY Seigar INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Seigar, a multifaceted artist based in Tenerife, Spain, who has a passion for exploring the world through his camera lens. With a background in philology and teaching, Seigar brings a unique perspective to his art, infusing it with his fascination for reflections, saturated colors, and icons. But it's not just the visuals that draw him in; Seigar is also deeply interested in pop culture and conceptual art, using his camera to tell stories and capture moments in a new and thought-provoking way. Seigar's journey as an artist began with travel and street photography, but it has evolved into something much more. He sees himself as a pop visual artist, constantly inspired by his travels and the people he meets along the way. He strives to go beyond simple postcards and instead create a continuous narrative that reflects his experiences and encounters. His camera has become his tool for documenting the world and exploring his obsessions and curiosities. While Seigar is primarily self-taught, he has also pursued formal education in advanced photography, cinema, and television. He has dabbled in various forms of art, including collage, video, and writing, always pushing himself to learn and experiment. He has exhibited his work in both national and international settings, and his art has been featured in publications around the world. Seigar's work has also caught the attention of publications like Dodho Magazine, and VICE Spain, where he has contributed his passion for supporting art and artists through text. Recently, Seigar has been exploring the world of video art, using his unique perspective to shed light on important societal issues, from individual freedoms to diversity and equality. His latest passion is documenting social issues related to identity, constantly searching for what makes people who they are. But amidst all of this, Seigar never forgets to embrace the present and seize the day, a message he shares through his captivating travel photo narrative series. In 2005, Seigar began a long-term project documenting the United Kingdom, a place that holds a special place in his heart both personally and professionally. Through his pop-inspired lens, he aims to capture the essence of British identity and share his connection to the culture. During his recent visit to the UK, Seigar revisited familiar urban locations, capturing his signature fetishes like shop windows, plastic people, food, and abandoned objects. But he was also drawn to the vibrant street art that adorns the city walls, using reflections, repetition, and saturated colors to capture its energy and essence. The result is a collection of photos that radiate a bright and shining light, reflecting Seigar's joy and love for life. Join us as we delve into Seigar's unique world of pop visual art, exploring his latest series. Through his direct and thought-provoking images, Seigar invites us to see the world through his eyes and experience the beauty and complexity of everyday life. “‘Tales of a City’ started as a way to portray the British identity, and then, it has become an invitation to live our lives fully and free. It is also a reflection of my ideas and views about the world. I want people to see these photos as my reading of British culture, a heritage that I feel linked emotionally and personally for a million reasons, and as a way to state the world is a beautiful place we should enjoy. This series is a part of my long-term travel and street photographic narrative about the UK, primarily captured in London, a project I initiated in 2005.” MEET SEIGAR: The Curious Visual Artist Exploring Pop Culture Through His Camera THE PICTORIAL LIST: Hello Seigar, thank you for the opportunity to discover more insight into your process of creating your visual stories. Welcome to the Pictorial List! Please tell us a little about yourself, where are you from, and where are you based now? What were some significant choices you made along the way to land on your home base? Seigar: I feel my hometown is La Palma Island, in the Canary Islands, which is called La Isla Bonita. La Palma is a peaceful, probably the most beautiful island I have ever been to, and the one I have felt more at ease. However, I decided to live in Tenerife, Puerto de la Cruz, probably because it’s quite similar to living in La Palma. In Tenerife, we can enjoy the sun the whole year around, good temperatures, the sea, the mountains, villages, traditions, local cuisine, and museums, it offers everything you expect from a paradise. That is how I see Tenerife, a paradise. Though I have visited 53 countries, and I love traveling, I wouldn’t change my residence. I think I can enjoy a quality life that can’t be beaten. I’ve always been interested in the visual arts since I was a child you could find me having a look at magazines and encyclopedias at home, attracted by the paintings of Dalí, and Frida Kahlo, but also quite fascinated by the lives and looks of celebrities and especially musicians, such as Madonna, Michael Jackson, and Prince. I would also be sketching women’s clothing designs in my notebooks and writing stories. This creativity has led me to what I am today. I consider myself, a teacher because I love my job, but also a visual artist, because I have found ways to express myself through different forms. Writing is essential for me because it helps me to complete the concept. Conceptual art is the prism I use to create. I usually join visual art with text, the statement lets me complement the art product. TPL: Tell us about your background in philology and teaching. How has it contributed to the way you see through the lens? What first drew you to photography, explain the importance of photography in helping develop your narrative in your visual stories. Seigar: I am very satisfied with the training I received at the University of La Laguna. I debated between linguistics and literature until I ended up dazzled by the methodology and everything it offered me. Being a pragmatic person, I decided that this was the most functional path to specialize in. When I finished my degree in Philology, I dedicated a school year to combining the Doctorate and the Pedagogical Qualification Course. I put into practice what I learned in private classes for children and adolescents. I also worked in academies until I obtained the Diploma of Advanced Studies. I passed the first exams I could take to become a Secondary School teacher. And since then, I have been teaching in secondary schools. I think that the University of La Laguna places us very well academically in the labor market; then, making your way depends on many external factors. My transition from student to worker was quite natural. I work as a high school teacher. I combine this profession with creating visual arts, writing, and collaborating with multiple magazines. Working as a teacher allows me to use the knowledge acquired in methodology and continue learning new strategies daily. There is an essential human factor in everything I do, and especially in a common point that education, arts, and writing unite: communication. I feel that all the tasks I dedicate my time to have that same element. I am interested in the ability to express and understand messages through interaction. I am pro clear and direct expressive speech, and I believe the main reason for communication is to transmit messages. In the classroom, I teach my students to interact with each other through language and other codes. In photography, I try to make the focus of my images clear and make sure people understand what I want them to see. I even wait for their responses in a dialogue, like I did in my series entitled Visual Interaction. When I write, I become personal. I like to research the topic without forgetting my reading. Concerning my infatuation with photography, I have always been a very visual person. Since I was a child, I remember drawing female dresses; I still draw them or buy music and film magazines, and I still collect them. I keep a lot of that creative side from my childhood. Traveling opened the doors to the world of photography for me. I remember that every time I came back from each trip, I would show the photos to my friends, and they were the ones who saw “something”. Far from bringing stereotypical images or postcards of the places I visited, I always captured repeated details from every trip. My fetishes in photography were defined automatically, intuitively, and without much planning: stolen portraits, shop windows, food, messages, garbage, and abandoned objects. TPL: We all face challenges and obstacles we could not have foreseen, what are some of yours, and how did you overcome them? What advice would you share? Seigar: In my life, I have struggled to achieve some of my objectives in the past, and now I can comprehend that I probably failed in getting obsessed with obtaining what I wanted. These days, I see it from a different view, it’s important to be passionate about your goals, but we have to be careful about the lines between passion and obsession. I would advise people to wish for what they want, but not to overthink or make an extra effort that could harm them. You need to wish, and then work for it with balance. And I would also recommend to choose carefully what they want to get. It’s important to be sure that our goal is our real goal, and that is going to bring good things in life. Careful with the things you are wishing for, ask yourself, is it going to be good for you? When I look back, I think I have chosen good goals in my life, and I’m proud of that, however, I think I sometimes failed in the process because I worked too hard to get them. I would do it with more balance if I could go back. That is something I would change. I can understand now that we can achieve our goals with equilibrium. And what is more important, I advise people to understand that our main goal is to take care of ourselves, eat, move, and rest the best we know, and also to keep on educating ourselves, our main work is self-care. I have realized that is our main job. The real job we all have is to take responsibility for ourselves. As an artist, there are some obstacles I can see these days, these are globalization, censorship, and the cancellation culture. I think globalization has brought blurred lines to the world of the arts. It seems the saturation of images and the use of social networks tend to unify visions or spread the sense of what is on and what is not. The main challenge is being faithful and loyal to yourself as a creator, trying not to depend on trends or accept the limits imposed by what you are supposed to be doing. I like the concept of the local and individual self; I like the idea of being me and keeping my identity as a creator. I think that is the most challenging task for creators nowadays. If you start doing what everybody is doing to be bigger, you may need to stop, think, reflect on that, and make a different decision. The world needs what you can give as an individual; the world does not need every person to show the same content with the same way of presenting it. When I see these videos about how you should be sharing your art, how to get new followers, and all that, I think that is not the right way. I think keeping your way is the key. I do not want to be a copy or a version of any other artist. Who wants 100 artists telling the same story, and in the same way? No one. And concerning censorship and all that, I think artists need to be brave, fight, and do it! Think about artists like Madonna, who has fought against so many taboos and is still there fighting against the rules and conventions. Artists need to stand up, be brave, and just go for it. If we all do it, the system won’t be able to keep up with this nonsense. I believe individual freedoms must be kept, and they are in our hands. For instance, if any social network censors a type of image or a type of expression and this one doesn’t damage anyone, it’s a matter of us all united to stop it; we are the ones who should decide. I think it’s a matter of time for people to realize that we are the ones who decide. No one authorizes me to create; I authorize myself to do whatever I want. It’s not out; it’s just me. My authority to be free and independent is inside of me; I don’t need to wait for anyone or anything for approval or permission to do what I want to do. I feel I am powerful, and I believe we are all powerful beings that just have to act and do. Throughout art history, many voices have rebelled against the rules, and they changed the path by doing that. I think it is time for contemporary artists to do things and break the rules. Actions are more important than words. There is no point in sharing a message asking for freedom; just be free. Let me tell you this with a metaphor. The metaphor is clear; it’s like a bird inside a cage with the doors completely open. That is how I feel about censorship. I also feel the same about many other situations society is facing these days: the same pattern, a bird that can fly and doesn’t. Why? I think common sense must be above any rule in the system. We can't obey a system when it goes against common sense or individual freedoms, and we cannot wait for its authorization to take care of us and do the best we can for ourselves. You just have to follow your instincts instead of blindly following “what you are supposed to do." Let’s be free and stop begging for our freedom. TPL: In your long-term project, ‘Tales of a City’ What do you want the viewer to experience from your work, what is their takeaway from their visual experience? Seigar: ‘Tales of a City’ started as a way to portray the British identity, and then, it has become an invitation to live our lives fully and free. It is also a reflection of my ideas and views about the world. I want people to see these photos as my reading of British culture, a heritage that I feel linked emotionally and personally for a million reasons, and as a way to state the world is a beautiful place we should enjoy. This series is a part of my long-term travel and street photographic narrative about the UK, primarily captured in London, a project I initiated in 2005. During the process, I have intended to capture moments of charm as a friendly reminder that we should view the world through our prism. Life and magic are omnipresent; we only need to open our eyes. In recent years, I've consciously distanced my ego from my heart, focusing on immersing myself in the creative process. My priorities have shifted to living, self-care, and relishing life. These new tales reflect this sweet phase in my life, and I am committed to making it last for a long, long time. I will no longer enumerate these series separately; I've realized these tales belong to the same project: Tales of a City. In my quest to identify British identity, I found my voice. TPL: You love to travel. You also live in one of the most picturesque locations in the world. Do you find your inspiration to create on or within the streets of Tenerife? Outside of home and London where has been your most favorite or interesting ‘tale’? And what city is next on your Wishlist to add to your series? Seigar: In Tenerife, I have done street photography in the villages and towns during my walks. I love exploring my island, too. I have done some landscape photography, though I have never felt completely reflected in this type of photography. I prefer other types of photography that let me show ideas, such as social or documentary. I have met people and told their lives through photography and text. Collaboration makes art richer and more complex; something simple can become something big with the right connections. I have worked with creative people who have added layers to my photography and video art. They have conveyed the ideas I wanted to express. I have worked several times with a young drag queen called Candy Porcelain, who has elevated my concepts through her art channel. I have also worked on the theme of new masculinities with young men. I have also worked on a project entitled 1, 2, 3 No Hashtags to deal with diversity, equality, body positivity, ageism, and other topics. I have done projects with trans people to talk about them as individuals and to tell their personal stories. I have worked with all different kinds of people to tell them who they are and their identities. Every life has some interest for me. I have shown the living moments of a boxer, a group of voguing dancers, belly dancers, drag queens, beauty pageant contests, theatre plays, ballet and contemporary dancing shows, fashion content creators, music festivals, and a digital and design illustrator. As I said, I like meeting people and showing what they want to say to the world. I have also recreated My Plastic People with a real model. I have done all these works in Tenerife; we have many creative souls on the island. I have found great inspiration in Europe, and I have been traveling all around doing my tales there. I found excitement in photographing Eastern Europe because of its different rural and urban scenery. However, I have also opened the doors to new narratives. From my recent works, I’m especially fond of my photo narratives from Cuba and Morocco. I think what I found there is so different from Europe that it has made my gallery have some new twists, intricacies, and storylines. These two countries unlocked new possibilities for my work. Last summer, I spent two months in Asia, but I haven’t had time yet to work on that material. I can tell it was an incredible experience that moved me. I can’t wait to see what I did there. Finally, my next destinations are Finland, Canada, and Liechtenstein. This is going to be at Christmas, in the winter, so this context would add some meaningful layers to my photography. TPL: Tell us about the many years of contribution to the arts, writing about art, and interviewing artists. What is your takeaway from the work you do? How have you grown as an artist, visually and intellectually? Seigar: Art and writing allow me to stay awake, grow, innovate, investigate, and learn. I can communicate and interact with other people and creators through these two channels. These are the two ways I have to express everything I have inside—two means of expression that I need to complete my life. I am a social person who enjoys the contact with people. Teaching has been my vocation since I was a child. I knew I wanted to be a teacher very early. My job keeps me in contact with lots of people and souls daily. And this routine is inspiring and makes me grow. Arts helps me to share my thoughts and the things I believe in. It’s the code to free my soul. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? If you could work alongside someone, who would you like to rub elbows with and learn from? Seigar: My main art references come from pop music: Madonna, Michael Jackson, and Prince. They have been the three icons I have admired the most in my life, and they still have a big influence on me, and who I am today. In cinema, I love Pedro Almodóvar, Alfred Hitchcock, Robert Aldrich, Lars von Trier and Tarantino. In painting, I adore Frida Kahlo, Salvador Dalí and Andy Warhol. All these people share very personal but radical views about what art is. They all show a unique universe that is glued in my brain and my heart. I’m sure if you scan me, you can find their musical and visual imagery in my soul. They all share a strong and passionate vision of art. That's what I'm looking for with my visual art. I can say that my favorite photographer is Martin Parr, I think he knows how to perfectly combine the image and the content with a very pop style. I also greatly admire the documentary nature of his work. Regarding the form, I stick with photographers like Man Ray, Diane Arbus, and Cindy Sherman, and paying attention to the content I would name Vivian Maier, Sirkka-Liisa Konttinen, Thomas Tom Wood, and Paul Graham. Almost all of them work in street, social, or documentary photography. Concerning the latest photography, I feel Lua Ribeira stands out; her sense of photography is fresh and original. I had the chance to write an article about her for The Cultural Magazine and it was fascinating to learn about her work. I’m also into the controversial Greek photographer Kostis Fokas, and the new realists Panos + Mary. Recently, I have had a crush on Greek photographers and the way they document reality, I would say Greek Photography these days has become a new expression of magic realism, and I’m also heading in that direction. I like to think that I’m sharing common views with them. I think right now, my sensibility is close to the works of contemporary Greek photographers, and also Eastern European countries, so that would be my first option for a collaboration. When we talk about admiration and influences, I would like to mention two special people who are everything to me in life, my mum who passed away but is still present in my everyday, and my sister who is my life. They are the real ones. Love you. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? Seigar: I think the key is discipline and perseverance. I consider myself an organized and planning person. I stay ahead of deadlines, I try to keep my work up to date, and the experience I gain with each project helps me not make the same mistakes. I am very observant and an analyst, I usually reflect on work processes and learn from them to be able to go faster the next time. It is part of my personality to be pragmatic and not waste time. I like to give myself fully to projects and grow. As you said, it is impossible for me not to be constantly on the lookout for a moment to be captured, I think that sentence defines the way I understand art and creation. Thanks for your deep dive into my work and soul. I can tell you love what you are doing too, and that is something wonderful. Thank you. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Seigar: I would like to find time to work on my last trips, as I do not stop moving, and I will never stop moving, it is not that easy to select and work on the materials that I am creating. However, my priority is living, so it will be done whenever I have the right time to do it. I accept it, and I’m fine with that. I would say that my main goal in photography would be to keep on selecting and working on my travel and street photo narratives. Telling my moves through my trips, as a testimonial diary. I have some ideas for video art too, connecting the tradition of this form with my view to understand it. I see video art as a way to experiment and channel concepts. And I also want to keep on exploring college to deal with current issues, collages help me to express my views on things that concern me. And finally, I would love one day to start doing installations, it attracts me. TPL: If you could explore another area of photography or art, what would that be? Why, what is it that you would be inspired to learn? Seigar: I want to start doing installations. The use of new materials and forms to create interest me. I already have some ideas that include toys, plastic people, or some furniture. I like the experimental aspect of an installation and its connection to the senses. The focus could be the idea of playing with toys, or the ready-made pieces. If I do something, I suppose it will be colorful, pop, and weird. When I visit a museum, I always find the installations quite intriguing and captivating. They commonly move me to feel things and to think, they usually surprise me. TPL: Your zest for life and your mantra to seize each day, how do you balance work and life? Seigar: I try to dedicate time for myself, that means taking care of myself and giving myself some love. I feel the more I care for myself, the more I can care for others. The more I help myself, the more I can help others. I try to be balanced and to listen to myself. To care about the words, I talk about me because we become what we say we are. It’s important to care about how we define ourselves. I listen to myself and my body to know and decide what is the best thing for every single moment. If you need to eat, to move, and to rest, that is how I understand my everyday life. And if I want to express myself, I also count on the art expression. I guess the moments I have felt at ease with myself, I have been able to be nicer and more generous with the people around me. The more you love yourself, the more you can give love. TPL: When you're not creating your visual stories, what do you do for leisure? Seigar: When I’m not creating, I hike, exercise, and eat out. I listen to music; I spend hours listening to music and reading music reviews. I love reading books about pop culture, and music magazines. I have coffee with my best friends. I meet and travel with my loved sister. And finally, I also go out and travel with my partner, and we enjoy life together. Thanks for the love. VIEW SEIGAR'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.