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

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

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

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

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

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

Presenting the work of visual storytellers from around the world. LAND, LABOR AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. PICTORIAL STORY COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. PICTORIAL STORY OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. PICTORIAL STORY REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. PICTORIAL STORY WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. PICTORIAL STORY LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. PICTORIAL STORY WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. PICTORIAL STORY SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. PICTORIAL STORY RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. PICTORIAL STORY DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. PICTORIAL STORY SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. PICTORIAL STORY SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. PICTORIAL STORY 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. PICTORIAL STORY THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. PICTORIAL STORY ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. PICTORIAL STORY THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. PICTORIAL STORY IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. PICTORIAL STORY UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. PICTORIAL STORY VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. PICTORIAL STORY UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. PICTORIAL STORY NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. PICTORIAL STORY THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. PICTORIAL STORY WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. PICTORIAL STORY BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. PICTORIAL STORY FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. PICTORIAL STORY VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape.

The Pictorial List is a global online magazine exploring the beauty and complexity of all things photography. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. Latest features PICTORIAL STORY WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. PICTORIAL STORY LAND, LABOR AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. PICTORIAL STORY WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. PICTORIAL STORY SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. INTERVIEW 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. PICTORIAL STORY RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. PICTORIAL STORY DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. PICTORIAL STORY SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. PICTORIAL STORY SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. PICTORIAL STORY 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. PICTORIAL STORY THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. INTERVIEW 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. INTERVIEW 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. INTERVIEW ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. INTERVIEW THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. EXHIBITION IN AN INSTANT 25th April to 17 May 2026 A community exhibition of instant film, bringing together a collection of photographs submitted by creators, each bringing their own way of seeing. MORE INFO New York, New York! PICTORIAL STORY NYC SUBWAY RIDERS BEFORE THE INVASTION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy. INTERVIEW FABRIC OF NEW YORK VISUALS Elle Clarke lives NYC — snapping its heart and hustle with her smartphone, one real city moment at a time! INTERVIEW NOD OF RECOGNITION B Jane Levine’s portraits give a playful wink — inviting a nod of recognition to the hidden stories we all carry inside. INTERVIEW NEW YORK IMPROVISATIONS Fast-moving, off-kilter, witty, raw and classic film noir define Bill Lacey's photography. PICTORIAL STORY MERMAID MAGIC AJ Bernstein captures the magic of the Mermaid Parade—where fantasy, freedom, and community come together in a sea of color and joy. INTERVIEW GOTHAM MEMORIES Jeff Rothstein clicks, time unfolds — capturing the heart of the city in timeless frames, from 1969 to today. PICTORIAL STORY TAKING THE PLUNGE Carol Dronsfield takes the plunge with the Coney Island’s Polar Bears, capturing the chill, the thrill, and the heart. INTERVIEW THE AUTHENTIC GAZE Amy Horowitz says “Don’t Smile”— and in doing so, captures the real and wonderfully unscripted faces of New York City. VOLUME ONE- NEW YORK BUY NOW FOUNDATIONS OF PRACTICE ART EXHIBITION February 07 to April 03 Foundations of Practice marks the beginning of The Pictorial List's journey - an opening not only of our new artspace, but of dialogue into the practice of the artist. join the Pictorial Community >>> Follow us on Instagram #thepictoriallist @thepictorial.list Load More REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. Interviews you may have missed REPRESENTING THE PEOPLE Camille J. Wheeler documents Austin's streets, with a particular focus on its homeless community. COMEDIANS Steve Best documents the British comedy scene, backstage and on stage, the highs and lows, and the joy of being a comedian. QUARANTINE IN QUEENS Neil Kramer's humorous and compassionate lockdown diary has gone viral. ENROUTE TO THE PINES Robert Sherman shares his documentary series about drag queens celebrating the 'Invasion of the Pines'. SERVICE INTERRUPTION Wojciech Karlinski documented Poland train stations during the pandemic, highlighting their formal and aesthetic side. VOICES OF THE NILE Voices of the Nile by Bastien Massa and Arthur Larie is a project documenting the relationship of Ethiopians with the Blue Nile. BREAKS FROM REALITY The magic only dreams are made of become reality for viewers as they engage in the poetic imagery of Mariëtte Aernoudts. BEYOND THE STORY Through her documentary photography, Christina Simons is compelled to tell the stories of those who are unable to do so themselves. © Russell Cobb Stay up to date Subscribing to The Pictorial List means joining a community that values visual storytelling. You will get exclusive content, inspiring pictorial stories, thoughtful interviews, book reviews, and more — delivered weekly to your inbox. Media Partners

I’m driven to photographing the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time -- people going about their everyday -- my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen. EVA MALLIS I’m driven to photographing the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time -- people going about their everyday -- my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen. LOCATION New York UNITED STATES CAMERA/S Leica Q2 Monochrome, Fuji X-T5 WEBSITE https://www.evamallisphoto.com/ @EVAMALLIS FEATURES // The Everyman

SOULS OF A CITY Always having a love for street photography, Betty is drawn to the power of imagery and how it expresses what she feels. SOULS OF A CITY April 8, 2021 INTERVIEW PHOTOGRAPHY Betty Manousos INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Betty Manousos is no stranger to the art of photography. As a street and social documentary photographer, she has captured the essence of city life through her lens, resulting in award-winning images of people, places and culture. Betty's love for street photography has led her to document the stories behind the scenes. With a distinct eye for detail and an innate ability to capture the spontaneity of life around her, Betty's images provide a unique insight into her own take on reality. Fuelled by her passion for creating meaningful stories through her artwork, Betty founded CUT and DRY Blogzine as a platform to share her work and make it accessible to a wider audience. Joining forces with Photographic Circle Collective, she continues to push the boundaries of street photography by going beyond the typical 'snapshot' aesthetics and instead, strive to capture raw moments of emotion with an aim to leave the viewer with a sense of connection to the subject. Betty Manousos is an inspiring photographer whose dedication to her craft is evident in each frame. Her powerful images hold the power to transport us to a different place and time, taking us on a journey where we can reflect on our own experiences and interpretations of the world around us. “I was born in Athens, Greece where I currently live. I have also lived in the United Kingdom for many years. I have always been artistically inclined growing up with art in the family. My dad was a teacher and artist and my brother is a recognised painter. But I became really interested in photography when a good friend of mine from Britain - who is a black and white photographer - introduced me to the medium. Here's a little story to illustrate. That autumn we went on a photo shoot to Dartmoor in southern Devon, England. That was it. I didn't realise it at the time, but this was the beginning of what would become an obsession. I've hardly put down my camera since then.” IN CONVERSATION WITH BETTY MANOUSOS THE PICTORIAL LIST: Betty, what is it that you enjoy about street photography? Explain your technique? What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? BETTY MANOUSOS: Part of the reason I enjoy street photography is the fact that there's always a different way to approach things in the terms of capturing candid street moments and I'm so excited when all the stars align; when all the elements of the scene line up perfectly, from the lighting to the unique human emotion, to the overall ambiance. For me, street photography is also ultimately liberating because it is an expression of my need to look at things differently. I've always been drawn to the power of imagery as a way to express my own completely subjective interpretation of what I feel rather than I see. Over time, I have come up with some techniques that work for me most of the time: - tilting the camera and changing the level of view - often shooting through other objects, as this allows me to create a dramatic sense of mystery in a photograph I'm less interested in creating images the traditional way - as street photography is an art form without constraint - but I'm much interested in the realm of artistic approach of things. Besides, I'm much concerned with the unusual or unexpected. As a photographer, I want my pictures to contain a surplus of meaning, to stimulate a feeling, to move the viewer emotionally. Some of the elements I try to include in my frame are: storytelling; emotion; an interesting character; the soul of a city. Sometimes I want to include only an object or trace left by humans that reveal something about life. TPL: Where do you find your inspiration? BM: Inspiration comes from everywhere in any shape and form, from life itself. My significant inspiration comes from my favourite movies and books. TPL: Do you have any favourite spots to go photographing? BM: Street photography is a surprisingly difficult photographic genre to practice in Athens. That said, taking photos of strangers in public, there is always a possibility that you may get punched in the face, I haven't but I got yelled at a couple of times. Perhaps people feel threatened or have become suspicious. In my experience, many Greek people don't like having their photo taken. Perhaps they feel as though taking a photo of them is an invasion of their privacy. Underground station, deprived areas have been some of my favourite spots to photograph. TPL: How has the pandemic affected you personally and your photography? BM: When lockdown was announced, I realised that my life would have to change. Since I couldn't go out to photograph, I decided I wanted to document my life; the sad moments, the quiet moments, the process of accepting the 'new normal. The plan was to staying nimble with my camera. One of the feelings (too many feelings) that I have been experiencing during the pandemic is uncertainty. How can one live in an uncertain world? TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BM: Ever since I started street photography, I was drawn to the high contrast work of Daido Moriyama, Saul Leiter, Harry Gruyaert, Josef Koudelka, and the art of Picasso has also influenced my photographic style. As a photographer, I want my pictures to contain a surplus of meaning, to stimulate a feeling, to move the viewer emotionally. TPL: Do you have a favourite quote, lyric, or saying that especially resonates with you? BM: "Be yourself. Everyone else is already taken." - Oscar Wilde. Our identity is what makes us different; it's what makes us individuals. Just be you. 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? BM: I'm definitely not a "gear person" (even with an iPhone you can take great photos). I use the Fujifilm X-T20 for my street photography, with a lot of nice lenses. With mirrorless cameras there is less to go wrong in terms of autofocus. The focal lens that just works for me is the 35mm prime; my preferred lens is a Fujinon XF35mm f/1.4 lens. TPL: When you go out photographing, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? BM: While out shooting, I'm almost always on the move and on the lookout for photographic opportunities. In fact, I look for unusual scenes that evoke a story. That said, I always try to blend in with my surroundings to capture the perfect candid moment. TPL: Have you ever been involved in the creative world before photography? BM: I used to write a lot of short stories when I was younger. 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? Where do you see yourself or hope to see yourself in five years? BM: I'm currently working on a project titled "When People Toil". It is a very challenging project. It's especially risky as that area I go is quite unsafe to walk around. Five years goals...to be working on a photo book, to be documenting an adventure of mine in photos, to be writing a book for beginners about my photographic experience and the lessons I learned along the way. I'd love to plan a trip too (if it is safe to go). TPL: "When I am not out photographing, I (like to)… BM: I read, watch movies and exercise." Betty Manousos is a talented and passionate street and social documentary photographer. Her award-winning images are a testament to her eye for detail and her ability to capture the unique moments that make up city life. If you want to view more of Betty's inspiring photography, check out her website or follow her on social media. Her creative spirit and eye for beauty will take you on a journey through the streets of her world. VIEW BETTY'S PORTFOLIO Betty's website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. ZOONOSIS December 9, 2022 INTERVIEW PHOTOGRAPHY Adrian Pelegrin INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Adrian Pelegrin, a photographer originally from Barcelona, Spain, but currently living and working in Playa del Carmen, Mexico. He focuses his work, THE HYPERREAL ARCHIVE exploring and investigating the post-photographic edit and manipulation of images to create an awareness of fake news or an unreal reality. With the obsession of social media and its integration into our culture, Adrian studies the changes taking place in our society due to the cause of disinformation, and creates images reflecting the effects on society. “My work is about mass media and how it creates new realities. I photograph archive videographic images, working mainly from television broadcasts. I make long-exposure photographic kinescopes that I later edit through digital post production.” Adrian found the events of the pandemic and the biases of the media’s coverage along with their non objective point of view and transmitting of misinformation, to be the new focus for his exploration. His insightful study and research has culminated in his new book ZOONOSIS. Adrian shares with us how this book came to fruition. “ZOONOSIS is a book gestated in pandemic times. When the global crisis broke out and the entire world was quarantined, I decided to start the task of documenting all the events that were coming to us through the media and online press. The book is the culmination of two years of tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. Also, I have supplemented the visual and journalistic content with a concise historic-statistical investigation dedicated to synthesizing what happened as much as possible. At another level, I also contribute with a thesis, in a veiled way, juxtaposing different allegorical moments that the reader-observer will be able to guess when contemplating the book’s structure as a whole.” Adrian is a photographer that thinks a great deal about the ideologies he wishes to expose, and draw our focus to. His photography confronts us with the new reality, making the viewer uncomfortable in the confrontation of truth. He has a deliberate vision and intent in how he approaches his work. This drives his process, and engages the viewer in a unique way. Adrian explains in detail his photographic process and critical and creative thought processes. “Photography must express what words cannot express. Photography is a silent art that grows strong in silence. The photographer does not speak; the photographer only points out. Pointing out is to isolate and delimit the world. Photography is the fragmentary art par excellence. We do not see the world as it is, but as we are. A photograph that is defined beforehand is a dead photograph. A living photograph is one that is created and actualized by gaze. Art records the seizures of the social. We must account for the events of our time. Photographing the archive, resampling its documents for a stab in the unconscious. Doing archeology of the present. Exploring the photographic dimension of movement, where overlays, sparkles, and unexpected analogies appear. Marginal elements emerge as untimely interferences, contiguities that generate metaphors: images of images in a double detachment from the real. We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness.” His insightful documentation and brilliant visual storytelling of the events of the pandemic brings us the harsh reality we are confronted with everyday, and how it allows for the distorted views of our future. We have the fortunate pleasure of presenting Adrian’s interview, where he articulates in more detail about his extraordinary process in photography, and how it inspired this wonderful project and new book he has created, ZOONOSIS. “We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness.” IN CONVERSATION WITH ADRIAN PELEGRIN THE PICTORIAL LIST: Hello Adrian, to begin, can you please tell us something about yourself. What would you say first drew you to photography? ADRIAN PELEGRIN: I was born in Barcelona, Spain, in 1980. I grew up in Badalona, a post-industrial city by the sea. There was a combination of abandoned factories backing to the beach, fishermen, run-down suburbs, and an ancient Roman city steeped in history. Nearby is Barcelona, a large European city, where you can find all the fun you need as a young person and important cultural centers. At the age of 15 (1995), I became interested in photography, thanks to a summer camp dedicated to film and print development. From then on, I never left the path; I installed my laboratory at home and worked intensely on it until the irruption of digital around the year 2000. Today, I live in Playa del Carmen (Mexico), which is a long story, but to sum it up, I will say that I have been faithful to the belief that “we don’t have to die in the same place where we were born.” Besides that, I am focused on producing my most personal work (the Hyperreal Archive), mainly posting my progress on Instagram and materializing it in photobooks. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? AP: I identify my work with the post-photographic trend that has become increasingly important in the last decade. The Internet and Social Media have had much to do with it, especially YouTube. The changes that have taken place are huge; today, the whole world lives through virtualized experiences, through the cell phone screen. That virtuality, what Baudrillard calls hyperreality, is like a parallel world. It replaces the sensitive life with the imagined life, the fantasized (in the Platonic sense of "phantasmagoria"). We live in a copy of a reality that is "degraded" (in another degree/level), although often, that degradation appears sublimated. All these historical-social phenomena are what interest me and what I try to talk about in my work. That is why I produce images of images; I never work with the "real" directly. Instead, I always start from previous materials, regurgitate them, and throw them back into that hyperreality in which everything is mixed up. We no longer know what is real and what is not. TPL: Talk us through the narrative of ZOONOSIS. When and how did this project first manifest for you? What have you learned from this project that has surprised you? AP: The book "Zoonosis" arose suddenly, just like the pandemic. In January 2020, I was working on another chapter of the "Hyperreal Archive" (that is the whole of my work's name); that chapter was "the Berlin wall." I was capturing images of the construction of the wall and the demolition. I was immersed in that historical-documentary inquiry process through Youtube materials. When the pandemic started, I didn't pay much attention to it. Still, as the months passed, I realized that it was a crucial historical moment, it was something too big, and I decided to stop everything to start documenting the pandemic. There is an important issue, and it has to do with censorship. In the beginning, many videos appeared (with which I worked), and after a few weeks, they disappeared. That's why it's crucial to document everything as it happens before the censors come with their scissors. TPL: When telling a story about misinformation, using abstracted images, explain to our readers the importance of this vibrato of overlaid information, and why this technique became the vehicle to deliver your message. AP: The idea came to me after reading Arthur Danto's book "After the end of art" I thought that the only thing left to do in art's history was to work from what was already done. More than producing, I do post-producing (for those interested in the subject, I highly recommend Nicolas Bourriaud's book "Post-production"). It's what DJs do; they remix the sampling. Taking samples from a formless mass of information and, from there, with that material, build a thesis. It is not new, but we live in the ideal historical moment to develop this movement. There is another book that also helped me, "Non-creative writing" by Kenneth Goldsmith (many poets hate it, by the way.) There is always reactionary resistance; the purists will tear their hair out at any innovation. Annoying the purists is something that has always appealed to me. In a world where all the information is pre-cooked and biased, it is naïve to claim purity, much less in art. It is something that Plato knew well; art does not reflect the truth but is a simulation. TPL: Adrian, please tell our readers that are considering composing a photobook, what was your process? Where did you begin? AP: There are two typical ways to plan a photo book or a book in general. One is to start from a preconceived idea, sketch each page and then photograph. Another is to start photographing and then try to find meaning in the material made. I am more in favor of the second option. Unless you have a clear idea of what you want to do and say, it's best to let things flow. You go in one direction, yes, within a topic, and you go on sifting and discarding what is left over. There comes the point where you start to see a meaning in it; interesting dissonances exist. Dissonances are unexpected moments (something that cannot be planned); they have to do with unconscious connections. That's why the anarchic method is the one that works best for me. Art has to differentiate itself from science and even adopt practices opposed to science. However, science has a lot to learn from art and vice versa. Planning and systematization castrate spontaneity and eliminate the possibility of psychoanalytic "dissonance"; those impurities, those "out of joint" moments, are indispensable. TPL: Publishing a book is a long road to travel, with many unexpected turns and obstacles to overcome. Could you help our readers understand some of the pitfalls you have experienced, and give some wise advice on things you have learned, or perhaps would do differently next time around? AP: Publishing a book on paper, nowadays, is absolute madness. It is the worst business you can imagine. In most cases, the editions are non-profit, even the authors end up putting money out of their pocket or giving the books away. That being said, some photographers do achieve their goals, not without strenuous work (which may never be financially rewarded). Publishing a book is a symbolic act, out of pure vanity or, at best, out of altruism. Different is creating a book, this process is essential, and every photographer should focus their efforts on producing books. The photobook format is on the rise, and there is no stopping it; it is part of the natural development of photographic art. We move from the "single photo" to the "photo essay." It is a significant epistemological leap. That doesn't mean that for most photographers selling books is a viable business. For those thinking of self-publishing, I recommend doing a crowdfunding campaign first (it doesn't cost any money), to test the market. Many times it happens that we overestimate the commitment of our followers. The reality is that our followers, and the majority of people who spend their time on social networks, are looking for free stuff. The fact that our photos receive a thousand organic likes on Instagram does not mean that you have an audience willing to take out their wallets. In any case, if you're still crazy enough to print your photo book on paper, I recommend doing some pre-work to gather subscribers and build an email list of potential buyers. From there, consider that only 5% of those subscribers are really willing to pay. When you are going to do a short print run, the book is so expensive that no one can afford it. The book is cheap if you do a long print run, but you need a solid fan base. You have to make numbers; and, in most cases, the numbers won't look good. Annoying the purists is something that has always appealed to me. In a world where all the information is pre-cooked and biased, it is naïve to claim purity, much less in art. It is something that Plato knew well; art does not reflect the truth but is a simulation. TPL: Since the pandemic is not over, will there be another edition to this book? If so, would you approach the misinformation in the media in a different way? Like Cause and effect, we understand the cause depicted and translated in this book, would there be a sequel to the effects the misinformation has had, and how as a society we have reacted? AP: Today we can say that the pandemic is under control, and although the cases continue, a large part of the population is vaccinated. I think the worst is over because there is an essential genetic component in severe cases and deaths. Now there is the aftermath, the annoying constant colds, which we will have to learn to live with, and eventually, we will end up forgetting. More than a reworking or a continuation of the book, the important thing is to remember what has happened. The social, political, and economic context of 2020 is worth studying; it is a time we will return again and again. That is why it is worth making documentation covering all aspects of the epistemological spectrum, and the artistic expression has an important role. As to whether we've learned anything from this trauma, I think it's too early to tell. Humans prefer to sweep the garbage under the rug instead of taking care of the problems. We always learn the hard way; when it's too late, and we don't take action until it all blows up. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AP: I am influenced by experimental photographers and artists such as Otto Steinert (subjectivity), Edward Steichen (pictorialism), Gerhard Richter (appropriation), and Joan Fontcuberta (post-photography), among many others. I am also interested in the critical theory of society and culture getting inspired by philosophers such as Theodor Adorno (aesthetics), Max Horkheimer (instrumentalism), Jean Baudrillard (hyperreality), and Jacques Derrida (deconstruction). Regarding paratactic writing, Tristan Tzara and William Burroughs (cut-up) have also been important references. I am also very interested in the new generation of Japanese photographers; Japan will have an essential place in the world of photography in the coming decades. TPL: How do you educate yourself to grow in your photography? AP: The process of formation of visual culture is something that never ends. I spend a lot of time on Instagram every day, following the work of hundreds of amazing photographers that no one knows about. On the other hand, I also try to be aware of new photo book publications. There is a Vimeo profile called "Photobookstore.co.uk", that posts videos of many recent photo books. It is best to buy them, but given the infinite amount of material, it is almost impossible. I am also well-informed about the history of photography. A few years ago, I did an exercise that I recommend to everyone. I downloaded the Encyclopedia of Photography edited by Lynne Warren and began to Google each of the entries. I discovered fascinating photographers and posted a photo daily on my Facebook (I think the folder can still be found). There's also the Youtube channel of Alec Soth that I strongly recommend. Besides that, I read a lot of written theories about art and photography. The conceptual part it's also important. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What do you use now? Do you have your go to settings? Is there any equipment you have on your wishlist? AP: Over the years, one learns that the camera is the least important. The photos are taken by the photographer, not by the camera. The gear is a tool. It's funny to see it this way. Do we ask a carpenter what brand of hammers he uses? Is this brand better than the other? And what brand of screwdriver? The important thing here is to have the tools; a hammer and screwdriver. The hammer brand is the least of it. If the hammer is of poor quality, it breaks, and you buy another one, that’s all. With photography, you have to think with the same parameters. There is an obsession about constant technological improvement, which doesn't make much sense. That being said, my first camera was a Pentax MZ-50 (I think), and my last camera is a Canon 5Ds. TPL: What comes next? What are some of your photography goals? AP: As I suggested before, I have a much bigger and more ambitious project that consists of documenting the episodes of recent history through the information that comes to us from the Internet. I started with the Berlin Wall since it is my oldest memory, and I could experience it live on TV. Then came the war in the Persian Gulf, which was also somewhat shocking (in 1991, I was 11 years old). The idea is to continue the historical sequence. The pandemic was something that interrupted this work, but that also became part of the body of work. Now, I'm going to continue with the Hyperreal Archive, which is an infinite project and will last until I die. What I will be publishing will be different chapters of that broader project. TPL: “When I am not photographing, I (like to)… AP: I like to cover every one of my biological needs satisfactorily. After that, I like to read books (mainly philosophy), dedicate some time to entertainment, and watch films by Bergman, Fellini, Buñuel. Enjoy good music, Philip Glass, Charles Mingus. Traveling to nearby towns, going to the beach, eating lobster, watching football, drinking coffee…😁 The Pictorial List would like to thank Adrian for his insightful testimony to the events that took place during the course of the pandemic, and the role media played in influencing society and their reaction to the events that unfolded. Follow his work and watch him expose the realities as he dissects the disinformation, by confronting the truths, making obvious the manipulation and lies. VIEW ADRIAN'S PORTFOLIO Order ZOONOSIS >>> Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

Betty Goh's photography is infused with a sense of mystery and imagination. Her original and unconventional contemporary style often surprises and captivates her audience with its unexpected perspectives. Born and based in Singapore, Betty’s primary passion is abstract street photography. She views the urban landscape through alternative lenses, transforming the ordinary into extraordinary. Her work explores the beauty of everyday streets, capturing the intricate details of layers, lines, spaces, reflections, shadows, and silhouettes. Betty describes her photographs as introspective reflections of her subconscious. Street photography has provided her with a space to express the complex emotions of urban life — passion, loneliness, fear, tension, and dilemma. These unspoken, surreal emotions often emerge as hidden elements in her visual poetry. BETTY GOH Betty Goh's photography is infused with a sense of mystery and imagination. Her original and unconventional contemporary style often surprises and captivates her audience with its unexpected perspectives. Born and based in Singapore, Betty’s primary passion is abstract street photography. She views the urban landscape through alternative lenses, transforming the ordinary into extraordinary. Her work explores the beauty of everyday streets, capturing the intricate details of layers, lines, spaces, reflections, shadows, and silhouettes. Betty describes her photographs as introspective reflections of her subconscious. Street photography has provided her with a space to express the complex emotions of urban life — passion, loneliness, fear, tension, and dilemma. These unspoken, surreal emotions often emerge as hidden elements in her visual poetry. LOCATION SINGAPORE CAMERA/S Leica Q2 and Q3 WEBSITE https://www.bettygohphotography.com/ @BETTY_GOH_PHOTOGRAPHY FEATURES // Visual Healing Beyond the Diagnosis