OUT OF THE DARKNESS Through self portraiture Abbie Briggs has truly found herself. Photography has become a healing creative outlet for her. OUT OF THE DARKNESS April 26, 2020 INTERVIEW PHOTOGRAPHY Abbie Briggs INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Abbie Briggs has been struggling with mental health issues for most of her life, but when she got her first digital camera a few years ago, she found an unexpected source of solace. Through self-portraiture, Abbie has found her own healing creative outlet and come to terms with the struggles of her past. Photography has had a positive impact on Abbie's mental health, providing her with a means of self-expression and allowing her to explore her identity in a unique and meaningful way, enabling her to find a sense of peace and purpose. Join us as we explore Abbie’s journey in her pursuit of healing through the power of photography. “Evolve or die.” A simple reminder for me to keep moving and never stop growing. I also like it because it reminds me of Lily Tomlin...and Lily Tomlin always makes me happy. I first saw the phrase on a shirt she was wearing in a portrait by Norman Seeff. IN CONVERSATION WITH ABBIE BRIGGS THE PICTORIAL LIST: Abbie, please tell us when you started getting interested in photography? ABBIE BRIGGS: Even though I've only honored it more recently, I've been drawn to photography since I was little. Reflecting back I can see that it was something always trying to grab hold of me but I just never let it. So life went on and I hit some hard times and fell into a pretty deep depression. I was basically treading water until about the end of 2017 when a DSLR fell into my lap and I started getting to know it. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Where do you find your inspiration? AB: Nature, poetry, music, other artists and photographers. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AB: I'm a big fan of Julia Margaret Cameron and the way she brought stories and poems to life in her portraits. I also adore the work of Georgia O'Keeffe and Alfred Stieglitz. Both in their own right as artists but especially with what they created together. Anna Gaskell - especially her Turns Gravity series - gives me life every time I revisit. And I have to mention Bob Dylan and Patti Smith even though they aren't known for their photography. Their influence has played a big role in making me who I am and that makes my art what it is. So, yeah, credit where credit's due and all that. TPL: Has your style of photographing changed since you first started? AB: Absolutely. It takes time to find your style, I think. I also believe it's something that can keep evolving. Growth is good. TPL: Where is your favourite place to photograph? AB: My little home studio. It's my safe space for creating self portraits. But also anywhere out in nature -- the woods, botanical gardens or the wildflower garden that grows at a local park. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AB: I am definitely not a "gear person". Personally, I'm most fulfilled by challenging myself to get creative with what I've got. When I was first starting I was blinded by the promise of new equipment but realized that giving into that wasn't necessarily helping me create anything I loved. My focus was on what I thought I needed to do it better. So I decided to simplify. I chose just one of my lenses (nifty fifty was the winner) and shot with that exclusively for about a year. During that year I focused more on studying different genres and other photographers. It really opened me up creatively. It helped me find direction for the art I wanted to create. I do have a couple other lenses that I create with, as well as some filters and stuff for when I just need to mix it up a bit (because that's good for creativity too) but these days I'm only drawn to something new when I'm feeling sufficiently ready to grow my portrait setup in some way. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AB: I think being a good observer, having a good eye goes a long way. Keeping an open mind and a willingness to keep learning have definitely helped me grow as an artist. If you're into self portraiture I'd say authenticity is key. Stay true to yourself, trust yourself. Think through your ideas and get in touch with your emotions. Then tell your story. TPL: Have you ever been involved in the artistic world before photography? AB: I've always loved creating but it's usually just for myself. Collage is something I've dabbled in for years and I play with paint once in a while. Nothing professional though. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AB: I've got some bigger ideas brewing. That's all I'll say for now. TPL: "If I wasn't photographing I like to be... AB: I love to be outside but I always have my camera when I'm outside so… reading, writing, baking, or watching something nerdy or true crime related." VIEW ABBIE'S PORTFOLIO Abbie's instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

RESONANCE OF HER REALISM Lana Eileen's images fuses abstract elements with fine details, combining seemingly disparate fragments to evoke a sense of magic realism. RESONANCE OF HER REALISM July 5, 2021 INTERVIEW PHOTOGRAPHY Lana Eileen INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The power of art lies in its ability to evoke emotion and transcend rational thought. Lana Eileen is an artist who embraces this mystery and uses her art to create an ethereal world of beauty and enchantment, drawing inspiration from her own experiences to create unique works of art. Currently a student of the School of Creative Arts and Media in Tasmania, Eileen has explored far and wide in search of creative inspiration, from artist residencies in remote Iceland and the island of Hrísy near the Arctic Circle, to New Zealand. Her works combine abstract elements with fine details to create a sense of surrealism, often employing self-portraiture as a means of expressing her inner thoughts and feelings. Through her photography, Eileen invites us to explore the intangible realm of our own minds, inspiring us to look beyond the obvious and discover something new about ourselves and our world. “There’s a physicality to self-portraiture that I love. It feels performative, almost like dancing, and there is a lot of movement involved. I love self-portraiture because it has an intimacy to it, and it is inherently personal.” IN CONVERSATION WITH LANA EILEEN THE PICTORIAL LIST: Lana please tell us about yourself. You are also a musician, tell us a bit about that. What was your journey into photography? LANA EILEEN: I was born in Australia, and I have just moved back here after having lived in New Zealand for a long time. I am now based in Tasmania, which is where I lived when I was very young. Working as a musician is what I have been doing for the majority of my life. When I started modelling for professional photographers on press shots for my music, I became interested in being a photographer myself. In the years since then, I’ve been continually experimenting, but it’s only recently that I’ve become very passionate about photography and started to take it seriously. TPL: Much of your work is self-portraiture. Is the process of photographing yourself different to that of photographing other people? Do you have a process of preparation? LE: It’s different in the sense that photographing other people allows for more technical control, whereas self-portraiture can sometimes be a gamble. But there’s a physicality to self-portraiture that I love. It feels performative, almost like dancing, and there is a lot of movement involved. I love self-portraiture because it has an intimacy to it, and it is inherently personal. TPL: Your photographs have a romantic aesthetic mixed with a tangible darkness that has a strong presence to nature. How would you describe your work and how do you choose your themes and communicate this to the viewer? LE: I am interested in moments that capture a sense of intimacy, focusing on gestures, movement, physical form. I love photographing hands, or faces partially obscured. Diane Arbus said a photograph is a secret about a secret — the more it tells you, the less you know — and that quote reflects how I feel about my work. I appreciate the connection between the human body and the natural landscape, investigating our place in the world and how we are inextricably tied to the earth, and I am always seeking to explore that concept. TPL: In 2019, you undertook an artist residency in remote Iceland. Tell us more about how this came about, what was it like, and what did you take away from this experience? LE: I had been wanting to complete a residency in Iceland for many years, as I was aware of several programs operating there, and in 2019 I finally applied and was accepted. I spent a month living in a tiny village in a remote corner of east Iceland, covered in snow, working at the studio each day. It was sometimes difficult, as the environment was quite raw and isolating, but I also loved it and found it to be life changing. There were artists from all over the world working there at the same time. I would love to return one day. TPL: Where has been your most favourite place to photograph? LE: I recently took a series of photographs in a lake in rural Australia just before sunset for my series ‘The Language of Water’, where I walked out into the water, and it was one of those special shoots when everything is just right in terms of lighting and atmosphere. That was definitely one of my favourite moments. I also love experimenting, taking self-portraits underwater or under glass. I appreciate the connection between the human body and the natural landscape, investigating our place in the world and how we are inextricably tied to the earth, and I am always seeking to explore that concept. TPL: Do you have any favourite artists or photographers you would like to share with us? LE: Julia Margaret Cameron, Diane Arbus, Francesca Woodman. Polish photographer Laura Makabresku is also a very big influence on my work. 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? LE: As someone who is more creatively driven than technically minded, the equipment I use feels secondary to things like concept and atmosphere, but it’s also undeniable that the type of camera I shoot with has a big impact on the result. Currently I am using a Canon 600D, a Canon 5D MK III, and a Nikon F80. I am very excited by the possibilities associated with using film, and that’s my focus at the moment. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? LE: I want to keep exhibiting my work, publish a photo book, and learn as much as possible. I plan to move to Europe when I graduate, and exhibit and work over there. I can see photography gaining more prominence in my work as an artist in the years to come. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LE: I am busy creating work for an exhibition at Black Cat Gallery in Melbourne in early 2022 that expands on my series ‘The Language of Water’, as well as a smaller exhibition of my photography at Parlour Gallery in Hobart this September, and I am also directing a lot of my focus towards shooting on film. TPL: When I am not out photographing, I (like to)… LE: Write music for my upcoming album, sing, play the piano and other instruments, perform at shows, make handmade jewellery and herbal skincare, read, cook, try to write a novel, go on road trips, or simply enjoy being out in nature." VIEW LANA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. CROSSING THE AVENUE May 5, 2023 INTERVIEW PHOTOGRAPHY Juan Sostre INTERVIEW Bill Lacey Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Driven by passion, hunting for the right light, the right expression, the right pose…photographer Juan Sostre’s work is at once recognizable. Bold, in your face, sometimes pretty, sometimes anything but. Filled with boundless energy on the street, he is both a fly on the wall and a bulldog with a flash. Walking with Juan on the street is both exciting and informative. He’s a walking masterclass of street technique. He shoots without hesitation where others might. Raw, edgy, in black and white or color, Juan's street portraits unearth something below the surface that most fail to capture. Juan is also an amazing curator of street photography. His AVENUE magazine features some of the best street photographers to be found anywhere. His layouts, selections…always the right choices. A magazine that is both fun to flip through yet deserves a spot on the bookshelf along with some of the best photo books in your collection. Juan shoots with a 28mm lens on a Leica Q2, a Ricoh GR3, and a Fuji X100V, which allows him to get up close and personal. These raw and edgy shots transport the viewer to the very heart of this snapshot in time. If you’re lucky enough to walk with him on the street, you’ll likely see things in a whole new way. So take a walk with us, feast your eyes on his amazing work, and cross the avenue with Juan Sostre. “My street photography is 80% candid shots and 20% staged. I’m more a hunter than a fisher. Those candid shots are ones in which you can feel the action, the movement, the spontaneous second in life unexpectedly, without necessarily having the subject entirely in the frame or straight. The 28mm focus length allows me to archive those compositions and get close enough to capture their breath and get my artistic vision. Like a Fly, I'm there seeing you from the point of view that the human eyes are not used to seeing. Maybe in silence, or maybe I make you uncomfortable. I hope the viewer feels and gets that when they see my work. Even when I’m not closer to my subject, I still want to keep that point of view, where my composition makes you see what human eyes are not used to approaching.” IN CONVERSATION WITH JUAN SOSTRE THE PICTORIAL LIST: Welcome Juan! To get started please tell our readers about yourself. What would you say first drew you to photography? JUAN SOSTRE: I studied Image & Design at La Escuela de Artes de Puerto Rico in Old San Juan, where I took a basic photography class, learning how to work in a dark room. It was not until a few years later, in 2007, that my passion for photography started showing up when I needed to start capturing my son's mom's belly. After my son was born, I started capturing those same moments for other families. In 2017, Puerto Rico was ravaged and flooded by Hurricane Maria, and that was when I fled to California to start a new life with my son. I knew I needed extra money since I was without a job and living off my savings for the first few months. Unfortunately, I was forced to sell my camera just to make sure that I had enough money to put food on the table for my son. I was blessed to get a job in an Advertising Agency as Creative lead / Senior Art Director here in California, but it wasn’t until 2020 that I started to find my footing with my work and life. TPL: What was the first camera you ever held in your hand, brought to your eye, and released a shutter on? What is the camera you use now, and your preferred focal length? Does the equipment you use help you in achieving your vision in your photography? JS: After using a Canon for years, I bought a Fujifilm X100V 35mm-equivalent focal to use in my day-by-day commute on the train between San Jose and San Francisco. It was that time when the pandemic hit us, and I tried my hardest to keep shooting as much as possible, even shooting portraits at my place with some models, just to get to know my gear. Then I discovered the Ricoh GRIII 28mm through a friend, and I knew from then on that was going to be my preferred focal length. Since September 2022, I have been shooting with a Leica Q2 28mm as my main camera, and it completely helps me to archive my vision in photography. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you," or is it both? Please describe your process. JS: I never go out with something in mind. I love being spontaneous and a hunter and going with the vibe of the day. Maybe I can make a stop for a few minutes and be a fisher depending on the location and weather. Most of the time, I keep walking to see what shows in front of me, and then I press the shutter without any hesitation. I barely use my viewfinder to get those points of view. I may look at it or at the screen to see if I got the shot, which I always shoot in black and white and lets me focus on the composition of the frame and don’t get distracted by the colors that I already saw. And never go back home and look at my frames the same day since I don’t want to get influenced by the excitement of my day if it was a good one. TPL: How do you educate yourself to take better photos? JS: First, I go out there and shoot as much as possible. Either local in the Bay Area, especially in San Francisco, or travel to other countries to have a different stage and people cultures. Collaborating with my colleagues and having a great conversation about photography with a beer in hand, sharing feedback about our work with respect. Also buying books and a lot of YouTube videos related to film or digital photography. TPL: Do you have any favorite artists or photographers you would like to share with us and the reason for their significance? JS: When I was an art student, I was a big fan of Salvador Dalí and René Magritte, among many others. The same with photography, I have been influenced by a few great names like Mark Cohen, Bruce Gilden, Saul Leiter, Garry Winogrand, and many others as well. Without taking credit away from so many talented ones on Instagram and my colleagues and friends, photographers with whom I walk the street and shoot monthly, and others in other cities. I have learned from each of them, and I'm grateful for that. I will say Mark Cohen’s work has been my biggest inspiration to be the fly I am today. TPL: What have been some of your most favorite places you find inspiration to explore through your photography, and what draws you there? The City of San Francisco, I will say, because it is where I’m shooting most of the time. The diversity of neighborhoods and people. The weather changes constantly. But saying that, I will say that I have been to New York, London, and Barcelona recently, and each city is unique and inspires me in different ways. The way I approach my subjects, the weather, and the time of the day, and I’m looking forward to continuing to discover more cities that can make me grow and keep me inspired on the streets. I love being spontaneous and a hunter and going with the vibe of the day. TPL: What are the origins of The Avenue magazine? JS: As a creative designer, when I started shooting in the Bay Area, I noticed that there was not a platform out there, such as a magazine or zine, to showcase the work of talented street photographers. We only had Instagram, where everyone was sharing their photos, but for me, it isn't the same feeling. A better one that you can grab in your hand, start flipping pages and start your own collection of good work. I started designing and curating by myself "The Avenue - Street Photography Magazine." The support was great from the first edition. After the first one, I felt the need to expand it outside of the Bay Area and has been the best decision I made. Since then, more street photographers around the world have been part of it in different editions and have arrived in countries I never expected. My mission has always been to highlight those well-known photographers and incoming ones to allow them to share the same space and share the different styles of street photography and learn from each other. TPL: What are the greatest challenges of publishing a magazine? JS: I will say for me, the biggest challenge is having a good budget to produce the magazine. I do the design and curate it, and then I send it to a fulfillment that takes care of the printing and shipping. Which means they take 90% of the profit. People think that I'm making money out of it, but it is not like that. I just continue because I feel and know that we need The Avenue Magazine and more platforms like this one to keep showcasing the great talent out there. It is not the same to see a frame on Instagram as having it printed, like back in the day. I respect and admire the other magazines out there that are doing the same in the east side and around the world since I don't see them as competition; I just see them as colleagues that are helping to expand our vision. I have so much passion for this magazine and believe in the talented street photographers out there that I know one day I will be producing and taking care of everything in-house, and I hope to keep counting on the support of the community to keep going. TPL: What is the most rewarding part of being a photographer for you? JS: Wow! Seeing the final product printed and turning that second that will not come back into a lifetime one where people can appreciate it per year. Connecting with others around the world that share my same passion. There are so many rewarding moments. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? JS: Yes! I’m actually getting ready to be part of a Street Photography Collective Exhibition called “THROUGH OUR EYES” on May 6th in San Francisco, California, where I will be sharing walls with my super-talented friends Harry Williams, Demondre Ward, Patrick Stevens, Harvey Castro, and Stephen Laszlo. I feel honored about this one. After that show, I want to continue working on a project based in Downtown San Jose and start giving form to it. Then I will get ready to curate the work submitted by photographers for issue #5 of The Avenue Magazine. TPL: What are some of your photography goals? Where do you hope to see yourself in five years? JS: As a street photographer, one of my goals is to continue traveling to other cities, like Tokyo, Colombia, Brazil, and many others, to step up my game. Meet more local photographers from those cities and share the street with them. I’d like to continue showing my work in collective exhibitions and one day make my own on my island of Puerto Rico. I’d love to curate and be a judge in one of the prestige street photography festivals in the next five years. Last but not least, get to publish my second book and get it designed by a close friend. TPL: “When I am not out photographing, I (like to)… JS: When I’m not on the street with my camera, maybe I’m at home designing, but the truth is that I switch from being a photographer to being “Papi.” I spend most of my time with my teenage son and looking at what to do to create memories with him.” VIEW JUAN'S PORTFOLIO Juan's website >>> Juan's instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

CONSTRUCTED RIBBON LANDSCAPES Painting with her camera lets abstract photographer and textile designer Alex Rutherford combine her two passions to capture her world. CONSTRUCTED RIBBON LANDSCAPES October 20, 2021 INTERVIEW PHOTOGRAPHY Alex Rutherford INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Welcome to the captivating world of abstract photographer Alexandra Rutherford! Alexandra is a textile designer with a passion for capturing the beauty of the world around her through her unique lens. She has channeled her expertise in textiles into a creative art form, painting with her camera to create stunning abstract photographs. In this interview, we explore Alexandra's series of photographs entitled 'Constructed Ribbon Landscapes', which take the use of texture, shape and form to capture abstract representations of the world. Join us as we dive into the fascinating work of Alexandra Rutherford, and get inspired by her ephemeral moments of beauty and wonder. “My series 'Constructed Ribbon Landscapes' was a project I started in 2019, however, with the events of 2020 meaning that most of us were confined to our homes I decided to revisit it. By experimenting with different lighting and a compilation of ICM (Intentional Camera Movement) and multiple exposure I created impressions of landscapes, beaches and seascapes using ribbons in a variety of textures, patterns, colours and opacity. In my head I had been all over the world, seen beautiful sunrises, glorious mountain vistas, glistening lakes, and lush green valleys but I hadn’t actually left my house! I hope to spark that imagination in other people with these images.” IN CONVERSATION WITH ALEX RUTHERFORD THE PICTORIAL LIST: Alex please tell us about yourself. ALEX RUTHERFORD: I was born in Merseyside, United Kingdom but spent my early years in rural Lancashire before returning to Merseyside to start senior school. My photographic/artistic journey started at technical college where I completed an Art Foundation course before moving to London to study for my degree in Constructed Textile Design at Hornsey College of Art. On completion of my degree course I worked in Interior Design (textiles) before starting my own knitwear company, this led me into the retail buying field where I worked for major fashion houses before taking time out to bring up our two children. TPL: What was that moment that sparked your interest to pursue photography? AR: My Foundation Art course gave me the opportunity to experiment in all aspects of art and design with advice and guidance from the most fantastic and dedicated teachers in the field. At this stage my photography was used to collect reference and inspiration rather than as an end result in itself. I would use a well worn and slightly battered Pentax, spend hours processing film in the darkroom and then have that magical moment of the image coming to life on paper! Brickwork, ironwork and dockland buildings were my main subjects as they gave me textures and and repeat patterns to use in my designs. It was when I picked up my husbands Nikon 5100 some years later that my passion for photography really took hold. I realised that digital processing opened up a whole world of new opportunities to explore and experiment with but also just how much camera equipment had advanced. After going back to basics (by completing the course “A Year with My Camera", with the fantastic Emma Davies) and then expanding that with various online/YouTube tutorials I gained more confidence in testing the boundaries of just what could be achieved. I also joined the online community SheClicks, this is a group of female photographers who advise, support, encourage and inspire each other. TPL: What does photography mean to you? How would you describe your photography style? AR: I describe my work as 'textured modern abstract'. I love bringing my textile eye into the field of photography to produce my interpretation of modern artwork rather than straight documentation. We can use a camera to produce images which may not be seen as conventional, we can really push the boundaries. I call it 'camera painting'. TPL: Artists often build up and experiment towards a method of working. Has your imagery become more abstract over time, or did you know exactly what you wanted from the beginning? What has been the inspiration for your work? AR: When I restarted my photography journey I was drawn to taking close ups of plants in an abstract fashion. The architectural structure of a leaf such as a Hosta with the rain forming droplets in the rivets, or a group of palm leaves against a dark moody sky. As I progressed my work became more abstract with the addition of ICM adding a further textural dimension which started with using Bamboo as the subject matter, I then moved on to those glorious colourful plants…Dahlias. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AR: The textile designer Zandra Rhodes has always been a real inspiration for me. I chose to go into textile design originally having seen her fabulous creations and, more recently (2019), visited her exhibition at the Fashion and Textile Museum in Bermondsey, London. Her vibrancy and clever use of scale and colour are something I regularly refer to in photography. Bridget Riley’s optical illusions and the bold unique graphics and typography of the Bauhaus movement are also images that I keep going back to, and Studio Drift, based in Amsterdam. I describe my work as 'textured modern abstract'. I love bringing my textile eye into the field of photography to produce my interpretation of modern artwork rather than straight documentation. 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? Talk to us about how you paint with your camera? AR: My Nikon 5100 and 5200 DSLR are excellent for ICM and multiple exposure photography all of which I do in camera.They are quite chunky and heavy beasts to carry around but they work well for me. I have just three Nikon lenses but my most used and most versatile is the Nikon DX 18-105mm. My monopod is also an essential piece of equipment. I refer to my style of photography as “camera painting” as I use various techniques as described above to create an artistic interpretation of what I see in front of me. I like the viewer to think “what is it?” as they then take time to study the image more closely. TPL: Do you spend a lot of time editing? What is your process? AR: Most of my images are created in camera but I do use Lightroom to fine tune. TPL: What are some of your goals as an artist/photographer? Where do you hope to see yourself in five years? AR: In the future I would like to work with interior designers on theme projects possibly for restaurants, hotels or other commercial enterprises creating photo art for walls. I would also like an exhibition in a London gallery. TPL: Are there any projects you are currently working on that you would like to let everyone know about? AR: My current project is working on a set of images influenced by the Pop Art movement, bold and bright…watch this space. TPL: "When I am not out photographing, I (like to)… AR: I love my photography and get totally immersed in the whole process, however, my time out is visiting galleries such as the V&A, Tate Liverpool and Tate Modern, special time coming together to walk the dog with the family, cycling the Thames Towpath and growing exotic chillies." VIEW ALEX'S PORTFOLIO Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

IN THE MOOD FOR BEAUTY Georg Reiter is always in search of symmetrical shapes, both in architecture and in landscape, and in all of it, the mood of the scene. IN THE MOOD FOR BEAUTY July 28, 2020 INTERVIEW PHOTOGRAPHY Georg Reiter INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Born in Salzburg, Austria, photographer Georg Reiter now lives in Vienna. His preferred genres are architecture and landscape photography, but he also does some lovely still life photography. He is always in search of symmetrical shapes, both in architecture and in landscape, and in all of it the mood of a scene is important to him. Even when photographing street scenes, his photographs have a highly aesthetic and yet natural feel. He works with contrast and light to bring out special features or moods. Nowadays he likes to explore a setting without a camera before returning to it to take the picture he has envisioned in his mind. “I am strolling around and always looking for moody scenes. I am not interested in capturing just a landscape, cityscape or architecture...I want to capture the mood surrounding that landscape or architecture.” IN CONVERSATION WITH GEORG REITER THE PICTORIAL LIST: Georg, can you tell us when you started getting interested in photography? GEORG REITER: It was in school, when I was 14 years old. We could decide between stenography and photography. I chose photography, as that was what I really wanted to do. TPL: Has your style of photographing changed since you first started? GR: Yes, my style, and my kind of post-processing, all have changed since I started. In my early years of photographing, with my first analog camera, I used a lot of filters, especially red and yellow to make the photos more dramatic, with hard contrasts. And I just went out and took pictures. Now I go out first without a camera to look for a motive, and come back well prepared to take a photo according to my idea. TPL: Where is your favourite place to photograph? GR: I really like the "Weinviertel"*, especially in the winter, when there is little snow. There are small hills, some tree rows for wind protection, and very small villages with old houses. *a wine growing region in lower Austria TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GR: Michael Kenna from Great Britain. His long term exposures, his special style has influenced me the most. And there is one painter I really like, Lucian Freud. When I do portrait photography, it is his kind of style of portraits that influence me. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone else just starting out? GR: Technical equipment is not so important to me, but I already love my wide angle lens. The most important feature for me is that the camera can be used in manual mode, so that I can determine how the photo will look. Now I go out first without a camera to look for a motive, and come back well prepared to take a photo according to my idea. TPL: What have been the positives and negatives of Instagram regarding your photography? GR: Instagram is important for me, because I see photos from very creative people. Some of these photos have influenced my style in the last years. The negative side of social media, not only Instagram, is the time you spend on it. TPL: Have you ever been involved in the artistic world before photography? GR: Yes, the parents of some of my friends who grew up with me were writers, and some of these friends went to art school. I graduated from Oskar Kokoschka´s "Schule des Sehens" (School of Seeing). TPL: Are there any special projects you are currently working on? GR: Yes, I am currently working on a project about the "Flaktürme von Wien"(flak towers of Vienna). TPL: If I wasn't photographing what would I be doing?... GR: I really don't know, I never thought about it. I have always been taking photos. GEORG REITER Read CYCLING CUBA by Georg Behance >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

ENROUTE TO THE PINES To celebrate Pride month, Robert Sherman shares his documentary series about drag queens celebrating the 'Invasion of the Pines' in Long Island. ENROUTE TO THE PINES June 2, 2021 INTERVIEW PHOTOGRAPHY Robert Sherman INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Robert Sherman, born in Chicago, but now based in New York City, is both a photographer and a musician and composer. He developed a pure passion for the art of photography and ended up becoming the staff photographer for the Fire Island newspaper. Of late he has also become a columnist for them and manages their social media account. To celebrate Pride month, as a double-feature with our friends at Spectaculum Magazine, we have asked Robert to share some photos from his documentary series about drag queens celebrating the INVASION OF THE PINES in Long Island, part of the annual Pride month events. “I was sent on assignment four years ago and fell in love with the event. The energy of the pre-party scene in Cherry Grove, having full access with press pass to the preparations and behind the scenes “Jamboree”, and being allowed on the Queen’s Boat enroute to The Pines for the red carpet pageant was exhilarating beyond my wildest photographic and emotional dreams.” IN CONVERSATION WITH ROBERT SHERMAN THE PICTORIAL LIST: Robert please tell us about yourself. Talk to us about your work and life in New York city. When and did you become interested in photography? ROBERT SHERMAN: I was born on the south side of Chicago, but moved to Northern California when I was 12, so the west coast really does feel like my cultural roots and San Francisco my hometown. But I came to Boston for my bachelor’s degree in music and then to NYC to get my masters degree at The Manhattan School of Music. I then stayed in New York for 35 years now, so I definitely feel like a full-blown New Yorker. I freelanced as a pianist and composer for years in NYC and then landed a full time job teaching music at The Calhoun School on the upper west side. I let go of teaching after 10 years and found myself obsessively fascinated with photography, almost as if it were a new musical instrument speaking to a lifetime spent in that pursuit. My wife got tired of seeing me using my iPhone so much, so she bought me a birthday present of a beautiful Sony mirrorless, my first real camera. Three years studying the basics, as well as taking master classes in the philosophy and grammar of photography at the International School of Photography brought me to a place where I felt I could follow and realize my total immersion in this new passion, and, in short, found myself continuing incessantly to photograph everything in sight that engaged me. I now consider myself a full time freelance street photographer, portrait photographer, and photographer in general. Four years ago I was offered a job as staff photographer for the Fire Island News, a newspaper based in Long Island, NY, and jumped at the opportunity to work as a photojournalist, as well. I am now also the editor of their Instafeed, and a regularly contributing columnist for the paper. TPL: It is Pride Month, and we have scheduled your feature of the Invasion of the Pines drag event in celebration of this special month. How did you get involved in this event? RS: I was sent on assignment four years ago and fell in love with the event. The energy of the pre-party scene in Cherry Grove, having full access with press pass to the preparations and behind the scenes “Jamboree”, and being allowed on the Queen’s Boat enroute to The Pines for the red carpet pageant was exhilarating beyond my wildest photographic and emotional dreams. Below deck I could find quiet moments of introspection and tender friendships, isolation, restrained nervousness and excitement, raw enthusiasm for the explosive moments to come upon landing at the next town over, The Pines, the exiting down the ramp and onto the red carpet for the pageantry and the fashion gala in front of thousands of spectators, revelers, supporters and beautiful people of like minds. I have covered two such events so far (Covid having blocked last year), the third coming up this July 4, and have never been able to shoot less than 1,500 photographs each time. I narrow them down to around 50, and from that, the paper chooses about 10 shots for publication. The rest are for me and my utter adoration of the process. It is my absolute favorite assignment of the year. TPL: What do you find especially interesting about the event in particular, and about drag in general? RS: In spite of the historical and current social hardships the LGBTQ community faces, there is a level of 'celebration of self' that is unmatched in most other groups or circumstances I’ve witnessed. Not unlike the amazing beauty of the carnival and birthplace of the incredibly intoxicating Samba music in Brazil —a country rife with suffering and pain— somehow finding its way toward the purest forms of all-encompassing celebration, this Invasion event is a true and total immersion into ecstatic revelations of how beautiful each and every one of us are, as we are; unfiltered and true to ourselves. I find myself enthralled by how being so utterly convinced of one’s beauty within makes each and every participant the most exquisite presence on earth. TPL: Are there any other events that celebrate Pride that you would recommend for photographers interested in the subject? RS: In spite of its challenges as a photographer and perhaps an outsider, with the crowds and crowd blockades, the NYC Pride March remains the most fantastic and enormous event of its kind. All of it, wherever you go to celebrate Pride Month, one will find a plethora of pure celebration that is impossible to not want to capture in image, narrative, and emotive content. TPL: In general regarding your photography, where do you find your inspiration to create? RS: I am not finding myself able to put my work in any particular "record bin". I can’t categorize nor “brand” myself. I simply must photograph what’s in front of me, that which engages me. I feel like I literally fall in love for that fraction of a second in which this endeavor eventuates. TPL: What do you want people to remember about your photography? RS: The images themselves. I don’t wish to be seen in the photograph. If anything, perhaps there’s a common thread of continuity in the part of me that sees and captures what’s in the image. But I strive to have the pieces speak for themselves. This Invasion event is a true and total immersion into ecstatic revelations of how beautiful each and every one of us are, as we are; unfiltered and true to ourselves. TPL: Do you have any favourite artists or photographers you would like to share with us? RS: Miles Davis, Elliott Erwitt, Irving Penn, Bill Evans, William Eggleston, Thelonious Monk, Diane Arbus, Betty Carter, Dorothea Lange, João Gilberto, Helmut Newton, John Coltrane, Chehalis Hegner, Hyuna Park... don’t get me started. The list is too long. TPL: Do you have a favourite place to photograph? RS: New York City is by far the most amazing place to simply walk around with camera in hand. So many colors, walks of life, people who are in their own world, and all the many who wish to be seen, who want to be photographed. That reminds me, one more quick one for the previous list: Bill Cunningham, the great fashion photographer on the streets of New York with his bike and camera simply riding around and capturing all the best of the best moments. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. RS: I think it’s neither, unless I’m in a more formal portrait project setting in which I am looking for very specific ideas. I think I try to “go to the images” and not wait to let them “come to me”. I move a lot. As in jazz improvisation, where there is a requirement of super-focus, studied instinct, and practiced intuition that asks you to anticipate the next 'inevitable' note, the same applies in photography: to see the shot ahead of time and move toward it with a sense of composition, decisive moment, expression, interaction, narrative, or simply the 'stealing of beauty'. Because I feel that stories and beauty are everywhere and in everyone. You just have to look for, and reach out toward them. 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? RS: I’ve stuck with Sony, and it has done everything I need and want with complete satisfaction. I’ve upgraded two times since my first camera, following my evolving needs. And now sit happily with the mark IV. I have nine lenses for various settings: 200-600mm for surf photography, wildlife, and nature, I prefer the 135mm f1.8 for portrait work, as a little compression always helps to further beautify faces, or my zeiss batis 85mm if I want more of the environment around the subject. For street I go in all directions, mostly 50mm, but I also play with compression and discretion on my 70-300mm, or the circus act warping of my 12-24mm, I have a 90mm and a 32mm macro. And my 24-70mm, although burdensome and at times off-putting for the people around me, is a beautiful street photography solution, as it sometimes forces the issue of real engagement with the subject in the moment. 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? RS: I have a solo show offered to me by the Ocean Beach Historical Society, during its centennial celebration of the city, opening on July 16 on Fire Island, NY, entitled 'Here, There, and Back Again'. It will be a collection of individual photographs, triptychs, portraits, from “home” on Fire Island, and New York City, and abroad in Italy and Southern Spain, from street photography to character studies to the aforementioned Pride Invasion in brief series from below deck of the Queen’s Boat to the red carpet, a few nature shots, as well as honoring my lifetime passion for surfing in some local gems off the shores of life on Fire Island. Beyond that, the next project will certainly be realized one way or another, I have no doubt. My aspirations are to keep shooting what I find fascinating, and presenting both in series, as well as the seemingly fresh focus on the stand alone 'individual photograph'. Of course I want to sell and make museum level works and show in important galleries everywhere. But most of all, at this point in my life I just want to tell stories, write “songs” with my camera, no, with my eye and heart, and continue to see all that surrounds me and find the moments I wish to capture and share with anyone who wants to join me in it all. I just want to keep falling in love. TPL: "When I am not out photographing, I (like to)… RS: Edit photographs and print them for true indulgence of their actual value in my life, play my 1924 Steinway Grand and my 1965 Hammond B3 organ for myself at home, surf, spend time with my grown children and my beautiful wife, and eat ice cream." VIEW ROBERT'S PORTFOLIO INVASION OF THE PINES on Spectaculum Magazine >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

THE SILENCES WHERE WE SEE Francesca Tiboni's personal journey as a photographer depicts the unique cultural stories found in her community in the old city of Cagliari. THE SILENCES WHERE WE SEE February 18, 2022 INTERVIEW PHOTOGRAPHY Francesca Tiboni INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Francesca Tiboni’s personal journey as a photographer is rooted in her communication skills and depicts the unique cultural stories found in her community in the old city of Cagliari, Sardinia. Focusing on the simple details of everyday life, presented to her as she walks through the enchanting neighborhoods of this medieval city, Francesca translates through her photographs what it is like to live in a city with so much history, with little influences from outside cultures. Francesca’s family plays an integral role in her exploration, leading to a better understanding of how they are becoming part of Cagliari’s story, and what colorful details they will add to this part of Italy’s history. The Pictorial List asked Francesca to share her explorations, and some of her discoveries. “I have been living in this city for 15 years and I am deeply in love with it. It has a moving beauty, for the light, the colors of the stones, the enchanting sea. I can't stop discovering it. It is a privilege to feel welcomed in a place but, at the same time, to keep the stranger's gaze and amazement.” IN CONVERSATION WITH FRANCESCA TIBONI THE PICTORIAL LIST: Francesca please tell us about yourself, and what your work is in corporate communications. What does your work bring to your photography? FRANCESCA TIBONI: My work pushes me to put myself on the client's side, to understand his point of view. I often have to translate information from a very technical language to a more easily understood language. Photography is also the story of many points of view. Your own, that of those who are photographed. A set of many different perceptions that visually build a new message that encompasses all these components. TPL: You say you inherited your passion for photography from your father, paint that portrait of him, and explain the inspiration and passion he left you with. FT: My father was a simple amateur photographer but he always encouraged me in this passion and, in general, he’s always been very supportive of my choices. He is a person very attentive to detail, without being obsessed, he certainly passed to me the devotion for precision and for a job well done. Two of my maternal uncles took and developed their photos at home. Even though I came from a very peripheral place, a village in the mountains of northern Italy, where the lack of cultural stimuli, like museums, bookshops, theaters, cinemas and exhibitions create a narrow environment. The access to flashes of beauty aroused in me a desire for research which I was then able to satisfy in the years I spent at Ca Foscari University in Venice. TPL: Do you feel your work documents or is an expression of the moments you capture in the street? FT: I think both readings are true, honest street and documentary photography does not artificially create situations to build a story but, at the same time, it is the point of view of the shooter that creates the story. No one is more aware than photographers of the many different truths that can be told. TPL: Francesca, you photograph beautiful details of your city, what do these details mean to you in the wonderful stories they tell. How have the streets and culture you capture influence your photography? How have your captures changed the way you see Cagliari? FT: For some years I have been doing research on the city of Cagliari which is not so much about finding beautiful geometric shapes or interesting palettes. What interests me is to discover how the city of people and that of buildings intertwine, how the city changes over time and yet maintains elements that characterise it and make it unique. Distinctive features that pass from people to the urbanised environment and vice versa. This investigation passes through the exploration of the suburbs which are more of a social concept than a geographical one. Poverty, the invisibility that hides both near and far from the Inner city. I am a person deeply in love with humanity, for many years I have volunteered in the prisons here, listening to the prisoners. I have remained in love with humanity, a humanity that underneath remains even in people suffering the most, or who have committed the worst crimes. Through urban details, clothes hanging, windows, walls painted in one way or another, I like to tell the beauty that comes from man. Sometimes we think that harmony is found only in the beauty of nature, I find it a lot in the suburbs, between peeling walls, in spaces that people want and need to personalize. TPL: Is there an artist that has influenced your work? If so, who were they and what was the influence? FT: A photographer I enormously admire is Joel Meyerowitz, as an artist and as a man. His approach to photography, a continuous research that changes over time, is something that fascinates me. Beyond the images of him, his words are of great inspiration. In moments of artistic confusion, I listen to some of his podcast interviews that I saved on my phone, he always manages to bring me back to the surface. I love his photographs but also his words. In general I like photographers with a profound and prophetic vision of reality, who tell stories delicately: Raymond Depardon, Mary Ellen Mark, Alex Webb and Rebecca Norris Webb, Alec Soth, Jesse Marlow, Luigi Ghirri and Gianni Berengo Gardin… I could go on and on. Documentary photography tells so many stories that as photographers, stay with us. They may even change the way we see or the way we tell stories. A cause with a direct effect. Is there a special photographic moment you can recall that will always remain with you, that changed your view of the world in which you shoot in? I like to photograph people on the street, when I feel a particular energy I approach them and ask if I can take a picture. The subjects shot are always involved with me, they are people to whom I explain the use I will make of the images and with whom I will remain in contact with later. Partly because of my personal journey and partly because of the level of openness that I give and that I ask for in the moment of photography, often people I engage even for a few minutes of a street portrait, they share experiences very painful and personal with me. I remember the first two portraits I took with a 35mm lens, which forced me to be in a certain proximity. They were both women and both told me about episodes of their life so distressing and intimate that in the end they cried in front of me and I behind the camera. I was absolutely not prepared for such an opening of heart. Later I started interacting in a slightly different way with the subjects in order to give space to their story without letting themselves be overwhelmed by emotion like a flooding river. It must be a moment of intense but harmonious exchange. Sometimes we think that harmony is found only in the beauty of nature, I find it a lot in the suburbs, between peeling walls, in spaces that people want and need to personalize. TPL: When you are out shooting - how much of it is instinctual versus planned? FT: Before shooting and after shooting I am super rational. Before, I dedicate time to plan, after, to analyse my bad photographs that are somewhat vivisected. It is a merciless activity from which I learn a lot. While I photograph, on the other hand, I am totally in a trance state, I enter another dimension that is totally instinctive and irrational. TPL: What are any lasting impressions you would like to leave the viewer? What is their ‘Take Away’? FT: There is always room for beauty, if you look for it, you will find it. 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?) FT: I switched to Leica in 2018, all the photos showcased here are made with a M10 and a 35mm lens. This camera helped me to focus completely on creativity, on how to make the photo and not how to manage the camera. Recently I was involved in a collaboration with Leica Camera Italia that gave me the opportunity to try the new M11 and, apart from the amazingness of the camera, I can say that the M system is just the perfect fit for me. Light, easy to use, producing astonishing files that need very basic editing. I feel that using a prime lens pushes me to create better photos and a nicer connection with my subjects. TPL: Is there an artist or photographer’s quote that has inspired you and influences the way you approach your work? FT: I love Henri Cartier-Bresson quote - “You just have to live and life will give you pictures”. For me, the most important part of the process is the encounter with people: life. Photography is a consequence of this encounter. Sometimes the encounter remains, it is lived, but there is no photograph and I’m totally OK with that. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? FT: Working full time, not as a photographer, and having a family with two young children behind me, I hope that my work conveys, especially to other women, the message that there is always the possibility to dedicate oneself to something you love, to express yourself artistically, in an art form as humble yet powerful as photography. In five years I see myself making better photos with the same enthusiasm or more! TPL: "When I am not out photographing, I (like to)… FT: I like being involved in any experience that asks me questions instead of giving me answers." VIEW FRANCESCA'S PORTFOLIO Read SOMETHING ABOUT THE FUTURE by Francesca Website >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

SPAIN COLLECTIVE Aneeka Manku is a photographer based in England whose journey through Spain is inspired by ordinary life and that in which it embodies. SPAIN COLLECTIVE September 9, 2020 INTERVIEW PHOTOGRAPHY Aneeka Manku INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Aneeka Manku is a photographer based in England whose work is inspired by the beauty of everyday life. From the land, nature, and architecture, to the people, interactions and the destruction, Aneeka’s photography captures the emotions, simplicity, and stillness of our world. Her subjects are often lone, still and quiet, with color used to express her feelings. In 2019, Aneeka embarked on a journey through Spain, capturing the country’s bright and beautiful landscapes. The result was her series SPAINCOLLECTIVE 2019: a collection of high contrast photos that display a homely, intriguing view of Spain that will leave you in awe. As you explore Aneeka's journey to Valencia, Cuenca and The Pyrenees, be prepared for an immersive experience that will leave you feeling connected to this incredible country. “Simplicity, feeling and stillness is what best sums up my work. I always feel that there are two captures for each photograph - one is with your eyes and the second with the camera. There is feeling attached to each capture and what you are trying to do is best portray that feeling through your own creative, technical and editorial style. A finished photograph should feel whole, and completely focused on that moment.” IN CONVERSATION WITH ANEEKA MANKU THE PICTORIAL LIST: Aneeka please tell us when you started getting interested in photography? ANEEKA MANKU: I’ve always had a keen interest in photography but didn’t pursue it until very recently, around 1-2 years ago, when my partner gifted me my first DSLR camera. I guess my interest began from a very young age when I would take pictures at family gatherings and on holidays. TPL: Where do you find your inspiration? AM: It may be cliche, but inspiration is anywhere and everywhere! Unless I am going out to shoot a specific event or experience, inspiration is usually instigated on daily journeys and ordinary routines. For me, what becomes to be the subject, sparks inspiration by itself. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AM: Quite a few but a couple I would highlight are - Steve McCurry - I absolutely love his work as it feels very real and true to the people and places captured. The visual outcome is simply beautiful, particularly with use of colour, something with I love to play with in my own photography. Alexander Bronfer - Bronfer’s work stands out among many for me. His style is simplistically unique, yet each photograph speaks volumes. The finish of his photographs create depth and add to the overall feeling of the image itself. Others include: Joel Meyerowitz, Raul Canibano and Michael Yamashita. For me, what becomes to be the subject, sparks inspiration by itself. TPL: Where is your favourite place to photograph? AM: I wouldn’t say I have a favourite place to photograph, each experience is different and not be compared. TPL: Have you ever been involved in the artistic world before photography? AM: No I haven’t, photography is my first and solely pursued artistic passion…so far! "When I am not out photographing, I (like to)… AM: Besides reading and a love for the outdoors, you would find me researching psychology-related topics - another passion which I will be taking one step further by studying for my MSc in Psychology this year. Sometime in the future I would like to incorporate psychology within my photography, working with other collaborators on social and community projects." VIEW ANEEKA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

RED BLOOD In his series of portraits, Rpnunyez composes stories where the main character weave a tapestry of sensations that give voice to that story. RED BLOOD August 12, 2022 INTERVIEW PHOTOGRAPHY Rpnunyez INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Rpnunyez is a Spanish documentary photographer with an ability to capture the human experience in all its complexities and nuances. He doesn't attempt to capture what he sees, but instead seeks to capture what he is - a quest to document the universal truths of being human. Through his lens, Rpnunyez captures moments that speak to us in ways that are deeply personal and meaningful, creating photographs that are not just art objects but tools that provide a glimpse into a shared human experience. As he states, “the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, are converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us like mirrors, some unknown part of ourselves.” But what if those moments were presented without any context? What would be revealed without the associated visual clues? Rpnunyez has explored this concept in this series of portraits, in which he has deliberately decontextualized the models in order to focus on the essence of what it means to be human. By stripping away the surrounding environment, we are given the opportunity to look deeper into the very soul of the subjects, allowing us to contemplate something beautiful and mysterious that may have otherwise gone unnoticed. This series of portraits invites us to take a journey of discovery and appreciation, unearthing a deeper understanding of human nature. “We tend to focus on the where and the how, and perhaps we should focus our attention on the who? Certainly, we share neither country nor language nor religion, but the blood that flows through our veins has the same red colour and perhaps that should be enough.” IN CONVERSATION WITH RPNUNYEZ THE PICTORIAL LIST: Rpnunyez please tell us about yourself. When did you first consider yourself a photographer? How did you get your start? RPNUNYEZ: I was born in a small town in Zamora, Spain where I grew up until I completed my higher education at the Polytechnic University of Valencia. My working life has been spent in equal parts as an engineer and technology teacher in high school. Nowadays, retired, I dedicate myself completely to photography. My first great trip was to Senegal, it was a dream I had in my mind for many years that I thought would be impossible to realise but that in the end happened. That trip has been a turning point in my life for several reasons. The first reason is that it was the first trip of many other trips to Africa, I always say that when you travel to Africa you are marked for life. Everything happens as if you made a trip in time and at the same time a journey towards your interior. The second reason why this trip was so important to me is that I discovered my passion for photography during the trip, a passion to which I now dedicate most of my free time. TPL: How much does documentary photography in particular play a role in your overall photography experience? What is it that you love about it? R: Documentary photography is essential to me because when I met (for the first time in my life) cultures and people so different from what I had known until then, I began to believe that contrary to what one normally tends to believe, there are many more things that make us similar than things that make us different. I believe that emphasising this last idea is necessary and even essential. The opposite idea, that’s normally accepted by western societies, is based precisely on overestimating differences between countries, differences between cultures, differences between religions, and differences between economic statuses which separates, confronts and generates the pain and suffering in the world. Travelling, as a Spanish philosopher once said, is the best vaccine against intolerance. Travelling expands your geographical horizons and as a consequence inevitably enlarges your mental and personal horizons. Traveling allows me to better understand human beings, both the good and the bad, and I try to transmit that understanding in my photographic projects. TPL: Introduce your series RED BLOOD to us. When and how did this project first manifest for you? What is the full story behind the project? What was the inspiration? R: RED BLOOD was basically provoked by the two years of pandemic during which it was impossible to consider a documentary photographic project due to the restrictions. It responds to the vital need to remain immersed in my own photographic world, but seen now from the perspective of a completed project I realize that it is a true statement of how I understand the world and how I try to express that vision. If there is one constant in the life of a photographer, it is the thousands and thousands of encounters, some of them fleeting, whose permanence in the memory is based on the photograph taken, and others accompanied by long conversations or true stories lived in common. Be that as it may, when someone enters the frame, when you manage to catch that split second by mocking time itself, what has just happened there, inevitably becomes part of yourself. That and no other is the human dimension of my way of feeling photography and that is the meaning of my relationship with the people portrayed. Maybe we don't share a way of life, religion or country, but, no matter how much time has passed, they all accompany me wherever I am and, even though they are blurred by the passage of time, they populate my memories. Almost without realising it, they have ceased to be "the others"; they are something like my extended family. We tend to focus on the where and the how, and perhaps we should focus our attention on the who? Certainly, we share neither country nor language nor religion, but the blood that flows through our veins has the same red colour and perhaps that should be enough. TPL: Talk to us about your method and experimentation before the final images in your project. Did you know how you wanted the project to look? How long did each image take to create? R: RED BLOOD, like all my previous projects, only started its path when its idea and concept are perfectly defined. I never undertake a project without a meticulous previous planning even though I am aware that this planning can become, as in fact it does, obsolete because the project itself comes to life and leads you, sometimes, to unsuspected paths. I couldn't say the time for each image, but for the overall project I spent about a year and a half. TPL: How does RED BLOOD differ from your previous projects? Is this the type of visual storytelling something you would like to pursue again in future projects? R: I would say that RED BLOOD is effectively more of a photo essay than a documentary photography project. And it is the only one that isn't in black and white. It has been the only time that I have not considered color as a kind of mask that prevents me from seeing the true reality of things. Beyond the scientific theories about color and how we perceive it, but without disdaining them, when I photograph I imagine the world dressed in an infinity of layers of colors. I imagine it hidden under those layers - that immense palette of chromatic colors - which distract my brain and hide from me the elusive essence of things. An essence that I am only able to apprehend when I remove them, letting the forms, in their full nakedness of grays, show themselves in all their splendour. In this case I considered that the color red, symbol of blood, would visually convey the essence of the project in an effective way. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? R: Three photographers have been essential in my life: Ansel Adams, Wayne Miller and Marc Riboud. From Ansel Adams, I learned the secrets of analog photography and despite all the technology that surrounds us I still think of his zone system when I shoot and I maintain the firm decision to use the current software as if I were in my old analog lab ignoring the immense amount of new digital tools. From Wayne Miller, I am captivated by the confessed humanistic dimension of his work and the undeniable emotional force of his images. From Marc Riboud, I am inspired by the impeccable, austere and apparently simple construction of almost all his images as well as the neatness in the treatment of the whole range of grays. I do not photograph what I see but what I am. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? R: Cristina García Rodero, whom I know personally and who is, from my point of view, one of the best Spanish photographers of all times. TPL: Do you have a favourite photography/art quote that has been an inspiration to you? R: Sometimes we tend to disdain the power of a simple phrase. Not so for me when I first read this quote by Wayne Miller - "We may differ in race, colour, language, wealth and politics; but consider what we have in common: dreams, laughter, tears, pride, the comfort of a home and the desire to love. If I managed to photograph those universal truths..." A quote that is always present in my projects, in my travels and in my life. TPL: What camera/s do you use? Do you have a preferred lens/focal length? Is there any particular equipment that is on your wishlist? R: I never liked zoom lenses. I like to zoom with my feet which allows me to get not only physically but emotionally close to the subjects I photograph. My photographic equipment is small: A Nikon D810 with a 35mm f/1.8 prime lens. A Nikon D7100 with a 20mm f/3.5 manual prime lens. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? R: I never think about myself as an artist but as a photographer, faithful to my principles, alien to anything that has to do with fashion or the ephemeral and always looking for new projects that speak of the human condition. Thinking about what will happen in five years...Can anyone hold that answer in their hands? Yes, we tend to have that temptation, but I prefer to focus on the now in a way that every project I carry out is always the best possible. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? R: I am currently preparing my next project about the legacy of the Sufi mystic Molana and as a continuation of one of my series of DIARIOS PERSAS & TALKING WITH MOLANA. TPL: “When I am not out photographing, I (like to)… R: Usually read, enjoy my family, do some sports or go hiking.” VIEW RPNUNYEZ'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating. DOWNTOWN ATLANTA April 28, 2023 INTERVIEW PHOTOGRAPHY Branden May INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For over 15 years, Branden May has been capturing the wonders of street photography with his camera. His passion for the craft began as a young boy, when his father gave him his first taste of film photography. Since that moment, Branden has not been able to put down his camera. He has developed a unique perspective on the world and captures it with his lens, creating a stunningly beautiful blend of street, architecture, and light and shadow. Branden is an intrepid explorer of the world's diverse beauty, and his work is a vivid reminder of the world around us. Every one of Branden's shots is a testament to his unwavering dedication to the craft of photography, and a stirring invitation to explore its fascinating depths along with him From the vibrant colors to the intimate moments, become the inspiration in this story of one man's journey to freeze-frame the heart of a city. The compositions of Branden's pictures often accentuate the isolation of his subjects, who are often alone, metaphorically and literally, despite the city's bustle. The structure of buildings, their interaction with people, other structures, and most importantly, the play of light and shadow at different times of the day, are all studied by Branden. The Pictorial List invites you to experience Branden’s perspective on his approach to photography and peruse through his collection of photographs captured on the streets of Atlanta. “My father once said that walking down the street can teach you quite a bit, and photography is no exception. Being raised in Atlanta has also played a significant role in my passion for photography.” IN CONVERSATION WITH BRANDEN MAY THE PICTORIAL LIST: Hello Branden…welcome to The List! Let's start by telling us something about yourself. BRANDEN MAY: Hi there, thank you! My name is Branden, and I’m happy to be here! I'm a photographer from Atlanta, Georgia and a husband and dad. My passion for photography extends from portraits to product photography, but I'm particularly drawn to the beauty of street and architecture photography. TPL: What would you say first drew you to photography? What is it about this medium that you still have a passion for today? How did you find street photography? BM: Freezing a moment in time has always captivated me, no matter how big or small. Each captured moment is unique and personal. This still drives me today. My father once said that walking down the street can teach you quite a bit, and photography is no exception. Being raised in Atlanta has also played a significant role in my passion for photography. I'm captivated by how people interact with buildings, structures, and light and shadows. By combining these elements, I create scenes that reveal the hidden beauty of everyday city spaces. TPL: Could you tell us what living in Atlanta has inspired in your work? What special qualities unique to this city influence your street and the way you portray your community? BM: My photography style is unique, covering a broad range of subjects, but I have a particular passion for street and architecture genres. Through my lens, I explore the interplay between people, buildings, and their environment, using light and shadows to create compelling scenes. I learned to anticipate how sunlight and shadows play out across the city at different times of day. Witnessing the ever-changing interplay between light and shadow is a marvel that inspires my photography. By showcasing the understated beauty of ordinary city spaces, my work captures the essence of urban life in a way that is both unconventional and captivating. TPL: There are two techniques that are colloquially referred to as ‘hunting’ and ‘fishing’ in street photography. When you are out on the street taking pictures, are you a ‘hunter’ or a ‘fisher’, or is it a combination of the both? Please describe your process. BM: I believe I’m a mix of both styles. I wander from block to block, seeking out intriguing compositions, especially on rainy days. Sometimes, I wait patiently for the perfect subject to enter my frame, even if it means staying put for 45 minutes. This habit harks back to my Atlanta roots, where I would watch the sunlight change as I would sit in traffic with my parents. TPL: What is the most rewarding part of being a street photographer for you? What are some challenges that you have faced? BM: As a street photographer, the freedom to capture life as I see it is incredibly rewarding. I relish the chance to explore and experiment, taking risks and following my creative instincts. However, finding time to shoot amidst my work and family schedule can be challenging. When I do hit the streets, I make every moment count. Unfortunately, security guards can sometimes dampen my enthusiasm, sapping my joy for the craft. Nonetheless, the thrill of capturing raw, unfiltered moments keeps me coming back for more. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? BM: I find it difficult to turn off my photographer's eye. I'm constantly seeking fleeting moments to capture. My only obstacle is finding the time to frame and immortalize these visual gems. Witnessing the ever-changing interplay between light and shadow is a marvel that inspires my photography. TPL: How do you manage a work/photography balance? BM: Work takes a big chunk of my time, so scheduling time to shoot is the key. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BM: I have a few favorite photographers, but Gordon Parks holds a special place in my heart. His unparalleled talent for capturing a moment and weaving it into a nuanced, multi-layered story is truly remarkable. Additionally, the works of Saul Leiter, Berenice Abbott and Fan Ho have deeply impacted my style. Their masterful use of composition and shadow play has served as a wellspring of inspiration for my own photography. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? BM: That’s a tough question, but Fan Ho undoubtedly ranks high on the list. With his masterful play of shadows and backlighting, his techniques are legendary. Observing his creative process firsthand would be an unforgettable experience. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Does the equipment you use help you in achieving your vision in your photography? Is there anything on your wishlist? BM: My photographic journey began with my mom's Kodak Ektralite 500 camera and my dad's Olympus OM-1. Today, I use a Nikon D750, but I'm always on the lookout for new gear to test out. The Nikon Z fc has caught my eye. I'm curious to see what all the fuss is about! Let me know if you have a connect 😉 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 for the next 3-5 years? BM: My wife and I run rentaprint.co, a print rental service that offers high-quality, cleared fine art architecture prints to a range of industries including TV, film, and real estate. I'm currently working on my first photobook and participating in several upcoming group exhibitions. My goal is to have multiple solo exhibitions in the next few years and eventually get accepted into Magnum Photos. I’m excited to continue to work and grow as a photographic artist. TPL: “When I am not out photographing, I (like to)… BM: Spend time with my wife and kids, cycle and play golf.” VIEW BRANDEN'S PORTFOLIO Branden's website >>> Branden's instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

LITTLE DRAMAS Robert Bonk captures everyday activities, which when viewed together, portrays little dramas, weaving a visual tapestry of Italian life. LITTLE DRAMAS March 16, 2022 INTERVIEW PHOTOGRAPHY Robert Bonk INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE From the wild and poetic landscape of Jacksonville, Florida, Robert Bonk's lifelong journey has been one of change and exploration. After graduating with a Bachelor of Fine Arts in Painting, Robert moved to New York City to pursue his dreams of becoming an artist. He then relocated to Los Angeles where his career shifted to working as a location scout for the film industry before recently retiring. Now, having spent time between the United States and Italy with his wife, Robert Bonk has created a stunning series of photographs that artfully capture everyday life in Italy. His series 'Little Dramas Italy' is edited from his larger and ongoing project that he has been developing from three trips to the region between 2018 and 2021. This unique collection of images displays the beautiful culture of Italy with all its little dramas, offering a visual tapestry of everyday life. “It is this dichotomy between the archaic and the present day, finding ‘little dramas’ which informs the human condition I find compelling. As The Talking Heads song, Once in A Lifetime, goes: Same as it ever was, same as it ever was.” IN CONVERSATION WITH ROBERT BONK THE PICTORIAL LIST: Robert please tell us about yourself. ROBERT BONK: I grew up in a ranch house on a lake in a wooded subdivision outside Jacksonville, Florida. The lake teemed with alligators and water moccasins. When my friends and I would take a rowboat out on the lake the alligators would swim up to the boat and we would whack them over the heads with the oars. Occasionally, every other month or so, neighborhood dogs would go missing. At night they’d venture too close to the alligators which would sleep on the yards at the lake’s edge. The gators would outrun them, pull them into the water. Occasionally, we would find rattlesnakes curled inside the wood pile; coral snakes running along the footpaths in the woods behind the house. Many of our neighbors displayed trophies of marlin, swordfish and bluefish on their walls. It was a wild, visceral and poetic place, which laid the desire to explore other parts of the globe and its people. I live outside of Los Angeles in a town in the foothills of the San Gabriel Mountains. Since the early 90’s I worked as a location scout finding filming locations for the film industry. I am now retired. My wife and I have plans to split our time, residing between the States and Italy. TPL: What draws you to photography and art? How did your journey into photography begin? RB: I have always been drawn to photography and art. When I was a young boy my dad had an old Argus camera. I loved the look of it, the feel of it in my hands. We’d go out and take photos. After a while, we decided to build a darkroom in the small bathroom in our basement. The alchemy of it all seemed so magical to me. My first love was painting, though. I lived in New York City during the 80’s pursuing my art. In 1983, I bought a camera and traveled solo throughout India and Nepal for two months. I saw many amazing sights. After returning, I processed the film, finding more than several images I thought compelling. Since my adventures to India, I have always had a camera nearby. TPL: What is the full story behind your project 'Little Dramas - Italy'? What was the inspiration and when did it begin? RB: In 2018, I accompanied my wife on a business trip to Sicily. My personal highlights were of the fishermen at the Duomo fish market and The Palazzo Biscari in Catania, the Ear of Dionysus limestone cave of Siracusa, the vistas of Taormina. I was drawn to the combination of the Sicilian’s rawness and yet cosmopolitan elegance nature, and the impression of this is how they have lived for centuries; provoking a strong a feeling of some sort of a continuum. And, it is this dichotomy between the archaic and the present day, finding ‘little dramas’ which informs the human condition I find compelling. As The Talking Heads song, Once in A Lifetime, goes, “Same as it ever was, same as it ever was.” And, of course, the same applies to the rest of Italy. In 2020, we returned to Italy, visiting Milan and Puglia, and then again in 2021, visiting other regions throughout northern and southern Italy. TPL: Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects? RB: Human nature and the human condition are universal. My street photography is something always ongoing especially when traveling. I would like to explore Europe more extensively, as well as travel to Morocco, Egypt and Japan. TPL: Who are your favourite artists and photographers? RB: Da Vinci, Picasso, Georg Baselitz, Sigmar Polke, Per Kirkeby, Peter Doig, Walter Swennen, Chris Killip, Sebastiao Salgado, Henri Cartier-Bresson, Taryn Simon, Minor White, Manuel Alvarez Bravo, William Eggleston, Irving Penn, Ruth Orkin, Daido Moriyama, Shomei Tomatsu, Albarran Cabrera just to name a few. Human nature and the human condition are universal. My street photography is something always ongoing especially when traveling. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? RB: If I was able to go back in time: Shomei Tomatsu. To see how he approaches his subjects and how he prints would be a real education. 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? How much post-processing do you do? RB: Yes, I’m satisfied with my equipment. I use a Sony A7r111 with a Zeiss Sonnar FE 1.8/55mm ZA and a Sony FE 1.8/35mm. Hardly no post-processing save working on the files to get the desired contrast and exposure correct. TPL: Is there any advice that you would give yourself if you started photography all over again? RB: Buy a better camera. A Chinon takes you only so far. TPL: When I am not out photographing, I (like to)… RB: To paint. VIEW ROBERT'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

RHYTHMIC EXPRESSION Raj Laxmi photographs to reflect the emotion she feels or the connection she makes with subjects in her series of Indian dance. RHYTHMIC EXPRESSION July 8, 2021 INTERVIEW PHOTOGRAPHY Raj Laxmi Singh INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE An ex-journalist turned full-time photographer, what started as a hobby soon led Raj Laxmi Singh to learn and master the craft of photography, while working on the ground level covering a few major art, cultural and heritage events across Delhi and India. She has a knack for capturing portraits and live performances. Rather than just pointing the camera and clicking away, Raj Laxmi takes a picture according to the way the subject makes her feel or the connection of the emotion she makes between herself and the subjects, creating images that combine a strong sense of story and expression of people. “The performing arts are most temporal - the moment you have performed it is over. So I capture the artist’s expression, feeling and emotion in my camera. I think that photographs are the universal language that everyone easily understands. Each picture has its own narrative and story.” IN CONVERSATION WITH RAJ LAXMI SINGH THE PICTORIAL LIST: Raj please tell us about yourself. How did you become interested in photography? RAJ LAXMI SINGH: I was born in a small village called Deoria Meer in Uttar Pradesh, where I completed my primary and secondary education. Currently I live in New Delhi. I am the mother of one child. I became interested in photography while working as a journalist covering a few major art, cultural and heritage events across India. TPL: What was the turning point for you to turn from photojournalism to photographing the arts and culture? What do you love about photographing dance? RLS: First time in 2017 I went to the theatre with my husband. I saw an Indian classical dance live performance. What I felt at the time I cannot explain in words. Classical dance is a performing art where the dancers act out a story almost exclusively through gestures. That time my eyes captured all the dancers expressions, emotions and dance drama, but this time I feel that I could freeze the expressions and emotions. Dance is the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy or simply taking delight in the movement itself... that’s why I love dance photography. TPL: Do you have any favourite artists and photographers? RLS: My favourite photographer is Shree Avinash Pasricha. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? RLS: The performing arts are most temporal - the moment you have performed it is over. So I capture the artist’s expression, feeling and emotion in my camera. I think that photographs are the universal language that everyone easily understands. Each picture has its own narrative and story. What I like about Indian classical dance is its beauty and majesty that comes forth when the dancers use their eyes, hands, limbs and expressions to relate stories to the audience without words. I want to explore more Indian classical dance, folk and traditional dances. I do not have any picture of Kathak Kali dancers and their supporting artists yet. And I also want to cover backstage life. Because every artist looks the same on stage, but backstage life is different and the situations are also different. So I am exploring Indian culture and artist backstage life. TPL: Where is your most favorite place to photograph? RLS: Live classical dance performances at any theater and cultural heritage at temples/tombs. These place provide beautiful frames for photographs and attract my heart. What I like about Indian classical dance is its beauty and majesty that comes forth when the dancers use their eyes, hands, limbs and expressions to relate stories to the audience without words. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? RLS: Nothing in mind, but when the performance starts then I get many concepts in my mind. I pick up my camera and follow my heart and capture the drama story. TPL: What camera/s do you use? Do you have a preferred lens/focal length? Is there any particular equipment that is on your Wishlist? RLS: I want to buy a Nikon X6II with 300mm lens. Currently I use a Nikon D7000 and 105mm lens. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? RLS: I want to explore more of my Indian culture and also more about the artist's backstage life. This is my goal and I want to achieve my goal within five years. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? RLS: All my special projects are based on our culture. This is work in progress, and what I have shared with you is part of it. VIEW RAJ'S PORTFOLIO See a feature article on Spectaculum Magazine >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. 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