I am a visual artist, born and raised in Tenerife, with a deep passion for travel, street, social-documentary, conceptual, and pop art. My work is heavily influenced by the vibrant and ever-evolving pop culture that surrounds us. To express my fascination with this culture, I have delved into different mediums such as photography, video art, writing, and collage. I am also a contributor to various media platforms, using my words to further explore this world that captivates me. My greatest sources of inspiration are my travels and the people I meet along the way. As an artist, my goal is to tell stories through my camera, creating a continuous narrative that reflects my experiences and encounters. Beyond my artistic pursuits, I am a philologist and a secondary school teacher. Despite my formal education, I am a self-taught visual artist. However, I have honed my skills through a two-year advanced photography course and another in cinema and television. My works have been showcased in numerous international exhibitions, festivals, and cultural events, gaining recognition and acclaim worldwide. Publications have featured my work, solidifying my presence in the art world. Currently, my focus is on documenting identity and promoting the message of the Latin phrase "Carpe Diem" through my art. Recently, I was honored to receive the prestigious Rafael Ramos García International Photography Award. On my blog, Pop Sonality, I share my art and cultural experiences with the world, hoping to inspire others to embrace and celebrate their unique identities. SEIGAR I am a visual artist, born and raised in Tenerife, with a deep passion for travel, street, social-documentary, conceptual, and pop art. My work is heavily influenced by the vibrant and ever-evolving pop culture that surrounds us. To express my fascination with this culture, I have delved into different mediums such as photography, video art, writing, and collage. I am also a contributor to various media platforms, using my words to further explore this world that captivates me. My greatest sources of inspiration are my travels and the people I meet along the way. As an artist, my goal is to tell stories through my camera, creating a continuous narrative that reflects my experiences and encounters. Beyond my artistic pursuits, I am a philologist and a secondary school teacher. Despite my formal education, I am a self-taught visual artist. However, I have honed my skills through a two-year advanced photography course and another in cinema and television. My works have been showcased in numerous international exhibitions, festivals, and cultural events, gaining recognition and acclaim worldwide. Publications have featured my work, solidifying my presence in the art world. Currently, my focus is on documenting identity and promoting the message of the Latin phrase "Carpe Diem" through my art. Recently, I was honored to receive the prestigious Rafael Ramos García International Photography Award. On my blog, Pop Sonality, I share my art and cultural experiences with the world, hoping to inspire others to embrace and celebrate their unique identities. LOCATION Tenerife SPAIN CAMERA/S Nikon D610, Fujifilm X30 WEBSITE http://seigar.wordpress.com/ @JSEIGAR @JSEIGAR FEATURES // Tales Of A City

So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. JELISA PETERSON So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. LOCATION Texas UNITED STATES CAMERA/S Canon Eos Rebel and Canon Eos 50D WEBSITE https://jelisapeterson.com/ @JELISAPETERSON FEATURES // Into Africa

A LIGHT FANTASTIC Photographer Adam Sinclair shows his love for his home city of Melbourne with the use of strong compositions, contrasts and rich colours. A LIGHT FANTASTIC March 30, 2020 INTERVIEW PHOTOGRAPHY Adam Sinclair INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Adam Sinclair is a Melbourne based photographer whose arresting street photography captures the vibrancy and culture of the city in captivatingly creative ways. Throughout his works, he skillfully employs intense colors and deep shadows to craft mesmerising compositions that evoke strong emotions and tells a story. Evocative, enigmatic, and full of surprises, Adam's photographs bring to life the streets of Melbourne, inviting viewers on an exploration of the city like never before. With a passion for capturing the underlying beauty and spirit of his hometown, Adam has become renowned for his captivating photographic artistry that captures the essence of the city in a unique and unforgettable way. “I started in black and white doing mostly street portraits and reportage. Now I look for strong composition elements, fascinating humans and great colours of course!” IN CONVERSATION WITH ADAM SINCLAIR THE PICTORIAL LIST: Adam, please tell us when the spark started for photography? ADAM SINCLAIR: Some friends bought me a photo book about Henri Cartier Bresson ten years ago, so I spent the next several years with a camera being awful. Though I didn’t really get into street photography until October 2019. TPL: Where do you find your inspiration? AS: I love the colours and textures of urban centres. So many unintentionally beautiful scenes! Also fashion for me is a huge inspiration, I find it endlessly amazing looking at what people wear, and how they wear it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AS: I adore Saul Leiter especially ‘Early Color’. He was mostly responsible for my transition from black and white to colour. And my talented friends on Instagram are a daily dose of inspiration. (they know who they are!) TPL: Where is your favourite place to shoot? AS: My home town of Melbourne inspires me always. I think doing street made me fall in love with the place all over again. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AS: No. Some of my favourite images have been shot on a phone. I think vision and a keen eye for detail, shape, line, texture, light and shadow are the most important. I would say…just go and shoot! We can’t improve if we don’t press the button! Everything I know, I know from asking questions. - Socrates TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AS: Curiosity. Fascination. Patience… And a love of people! Oh, and a dash of confidence for good measure. TPL: Have you ever been involved in the artistic world before photography? AS: Yes, I spent some time as a designer in my much younger years. I’m also a singer. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: My website ‘Indistreet’ is my current project that will be an amalgamation of photography, short stories and a store, should people ever want something for an empty wall. Watch this space. TPL: "If I wasn't photographing what would I be doing?... AS: Hmm, probably singing under a bridge somewhere by the river collecting meagre donations haha!" Adam's passion for his home city of Melbourne is evident in his work, which highlights the beauty of the city through strong compositions, a knowledge of light and colour, and striking contrasts. His artistry is truly remarkable and is sure to inspire any onlooker. If you want to experience the world as Adam sees it, connect with him through Instagram and explore his unique view of the city. VIEW ADAM'S PORTFOLIO Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

STORIES TO BE TOLD Focused on storytelling, Sophie Linckersdorff travels the world with the goal of taking pictures that are thought provoking and beautiful. STORIES TO BE TOLD April 23, 2021 INTERVIEW PHOTOGRAPHY Sophie Linckersdorff INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sophie Linckersdorff is a German photographer who grew up in a household of art dealers and thus had some early exposure to the art world. This later influenced her development as a photographer. Focused on storytelling and documentary photography, she is now a photojournalist, travelling the world with the goal of taking pictures that are thought-provoking rather than merely beautiful. “I was born and grew up in Bavaria, Germany. I became interested in art before I knew I would become photographer. I was strongly influenced by my parents, who are art dealers. When I was 15 I got my first camera. From this moment on it is my constant companion. Today my focus is on authentically visual storytelling and documentary photography. Since 2018, right after school, I study documentary photography and photojournalism in Munich. My passion has turned into my profession.” IN CONVERSATION WITH SOPHIE LINCKERSDORFF THE PICTORIAL LIST: Sophie, where do you find your inspiration? SOPHIE LINKERSDORFF: Absolutely everywhere. In the streets, in art, in the newspaper. Travelling, nature, people are my greatest source of inspiration. Paintings teach me how to compose images. TPL: Have you ever been involved in the artistic world before photography? SL: I grew up in a family of art dealers. That was my door opener for the world of art, for which I am very grateful! TPL: Do you have any favourite artists and photographers? SL: There are so many. I’m really fascinated by Henri Cartier Bresson, the street photographer Vivian Maier and Sebastiao Salgado. 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? SL: It is not all about equipment. Its mainly about observation and the sense of the "decisive moment". Vision is in mind, equipment helps to capture the vision you had for that shot. The most important tools are my eyes, not the camera. There is a story behind every single picture. I am open minded and I like to be surprised. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SL: My primary goal as an photographer is to tell stories and to share them. I do not intend to make “beautiful“ pictures. My pictures should be thought-provoking. In five years I wish to be a well-known international photojournalist and to reach a wide range of people with my photos. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SL: I am working on several long term projects. Let yourself be surprised and stay tuned. TPL: When I am not out photographing, I (like to)... SL: I love to learn foreign languages and travel around the world discovering new cultures. When I am home in Germany I love being in the Alps and going hunting. Thanks for listing me as a 2021 photographer. I feel very honoured. Focused on storytelling, Sophie travels the world with the goal of taking pictures that are thought provoking and beautiful. Currently working on several long term projects please be sure to follow Sophie on Instagram to keep up to date. VIEW SOPHIE'S PORTFOLIO Read READ EXCLUSION ZONE by Sophie Website >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

As I am a retired worker, it occurred to me to make use of my free time I could start taking photos. I started taking photos of objects, buildings, structures, etc., afraid of the human figure, and as I was feverish, I went out every day to photograph everything that caught my attention, and that everything started to attract my attention. I was beginning to see again. I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which she is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and always wanting to carry a camera with me so that, in this way, I can testify afterwards what my eyes are discovering. with the charm of an inquisitive look that surprisingly wakes up. I am lucky to be friends with the photographers and teachers Susana Arwas and Edgar Moreno who invited me to the classes that they teach in their workshops on composition and photographic projects. The type of photos that outline my propensity is determined by long years embedded in the social sciences, so it is almost a colophon that I am immersed in street photography with the nuance of black and white because it seems to me that it confers greater drama and contrast, although I also incorporate color when I think the image warrants it. The work I do does not obey a specific photographic project because what is specific is the street itself, which is the best reflection of the pulsating reality of everyday life in a society that is undergoing a process of transformation. Venezuela is a melting pot of races and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. Now I am happier and with a new life project filled with photos until I have full the last quarter of an hour I have left to live. I am a inveterate poacher of the street image, that fascinates me and causes me a kind of addiction for the volatile and unrepeatable scenes, is to be able to capture this ephemeral reality. The lights and shadows follow each other in moments and change in a few minutes and the action of the people is a matter of seconds. Everything has to coincide with the moment, which is not only a decisive moment but also a decided one. I do not intend anything other than to give free rein to my restless and curious eye and show the result of that passion for photography. I am a man of few words, that's why I use photography. JUANCHO DOMÍNGUEZ As I am a retired worker, it occurred to me to make use of my free time I could start taking photos. I started taking photos of objects, buildings, structures, etc., afraid of the human figure, and as I was feverish, I went out every day to photograph everything that caught my attention, and that everything started to attract my attention. I was beginning to see again. I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which she is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and always wanting to carry a camera with me so that, in this way, I can testify afterwards what my eyes are discovering. with the charm of an inquisitive look that surprisingly wakes up. I am lucky to be friends with the photographers and teachers Susana Arwas and Edgar Moreno who invited me to the classes that they teach in their workshops on composition and photographic projects. The type of photos that outline my propensity is determined by long years embedded in the social sciences, so it is almost a colophon that I am immersed in street photography with the nuance of black and white because it seems to me that it confers greater drama and contrast, although I also incorporate color when I think the image warrants it. The work I do does not obey a specific photographic project because what is specific is the street itself, which is the best reflection of the pulsating reality of everyday life in a society that is undergoing a process of transformation. Venezuela is a melting pot of races and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. Now I am happier and with a new life project filled with photos until I have full the last quarter of an hour I have left to live. I am a inveterate poacher of the street image, that fascinates me and causes me a kind of addiction for the volatile and unrepeatable scenes, is to be able to capture this ephemeral reality. The lights and shadows follow each other in moments and change in a few minutes and the action of the people is a matter of seconds. Everything has to coincide with the moment, which is not only a decisive moment but also a decided one. I do not intend anything other than to give free rein to my restless and curious eye and show the result of that passion for photography. I am a man of few words, that's why I use photography. LOCATION Caracas VENEZUELA CAMERA/S Sony A5000 @JUANCHODOMINGUEZ12 FEATURES // Ephemeral Reality

I almost always go out with my camera, even to get a baguette. Few times when I have a subject in mind, I let myself be absorbed by atmospheres, captured by lights or be attracted by lines. Then either the camera is drawn and the photo taken quickly, or I post myself a bit like a fisherman, waiting for the right moment, blending in with the background, so as to make me forget. I work full time as a social worker, in Lille, in the North of France and as soon as the opportunity arises I set off to discover new cities and new countries. DAVID QUEVILLART I almost always go out with my camera, even to get a baguette. Few times when I have a subject in mind, I let myself be absorbed by atmospheres, captured by lights or be attracted by lines. Then either the camera is drawn and the photo taken quickly, or I post myself a bit like a fisherman, waiting for the right moment, blending in with the background, so as to make me forget. I work full time as a social worker, in Lille, in the North of France and as soon as the opportunity arises I set off to discover new cities and new countries. LOCATION Nord FRANCE CAMERA/S Panasonic Lumix GX-8

STOPPING TIME Angel Carnicer kicks the streets to feel that strange and healthy feeling of stopping time. He simply lets any reality invoke him. STOPPING TIME May 21, 2020 INTERVIEW PHOTOGRAPHY Angel Carnicer INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Dive into a world full of beauty and diversity, a world of life and stories, a world that is frozen in time – and discover the captivating photography of Angel Carnicer. His passion for the art is evident in every photograph he takes, as his unique perspective helps to bring his subjects to life in a way that no other photographer can. Whether it's a candid portrait of a stranger or a stunning landscape shot, Angel knows how to make every picture special. He has an eye for the extraordinary and captures moments that are both fleeting and timeless. He has a way of allowing the world to speak for itself, allowing the viewer to be drawn into the beauty of the moment. Join Angel on his journey as he explores the vast, ever-changing world around us, and you'll never look at the world the same way again. “Inept for order and academia, perhaps my style is to have none. I simply let reality, any reality, invoke me.” IN CONVERSATION WITH ANGEL CARNICER THE PICTORIAL LIST: Angel, when did you start getting interested in photography? ANGEL CARNICER: It was a professor at my institute who introduced me to the world of photography, at that time exclusively analog. After the Institute, I was able to set up my own home photography lab. My first serious camera was a Zenit SLR, a gift from my older brother. That lasted 4-5 years of self-taught learning. Other concerns and circumstances made photography pass into the background; so for about 30 years I dedicated myself to taking typical photos of family, friends and trips. I suppose that experience left a deep mark; because about 3 years ago I bought a Nikon D3300 and resumed my youth hobby. Today, therefore, I consider myself a novice. TPL: Where do you find your inspiration to photograph? AC: I don't think inspiration is something to find, look for or wait for. One carries in his backpack a cultural heritage (photographs, readings, paintings, experiences, a peculiar sensitivity, etc.) and works with it even without realizing it. Sometimes the spark jumps and sometimes it doesn't. It can happen anywhere. TPL: Have you ever been involved in the artistic world before photography? AC: In my youth I wrote poetry. The most I achieved was winning the poetry contest organized every year by the University where I studied. Fortunately, someone very special took Hermes' winged sandals from me and I discovered the pleasure of walking barefoot on earth. TPL: Has your style of photographing changed since you first started? AC: Of course, I no longer photograph with my eyes closed. TPL: Where is your favourite place to photograph? AC: Any place is good to do it: the bustling streets of a city or the calm ones of a town, the cement or the grass, the sea or the mountain. I mean, I don't dream of going to New York, London or Tokyo. Seeing, with some exceptions, is natural; looking requires will, courage and learning. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AC: I am not a mythomaniac and more than favorite artists or photographers what I like are their creations. I mean, for example, that I like Goya's black paintings and his 'Disasters of War' engravings. However, here is a list where not everyone is. Writers: Juan Rulfo, Cervantes, Raymond Carver, William Faulkner, and F. García Lorca. Thinkers: Emil Cioran, Hans Magnus Enzensberger, Georges Bataille, and Zygmunt Bauman. Painters: Velázquez, Murillo, Goya, Hopper, Monet, Paul Klee, and German Expressionism (Nolde, Kirchner). Photographers: Sergio Larrain, Cristina García Rodero, Gervasio Sánchez, Walker Evans, Robert Frank, Fan-Ho, André Kertész, Saul Leiter, Vivian Maier, Garry Winogrand, Aart Klein, Daido Moriyama, and Markus Hartel. TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? AC: For street photography I would like to be invisible. For another type of photography I would need all the time in the world; but I have other responsibilities. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AC: Of course. "Photography is manipulation" (Hans Magnus Enzensberger). An iPhone is not the same as a Leica S3. This means your use will determine part of the result. Of course, this does not mean that a Leica S3 turns you into a Cartier-Bresson overnight. My experience is brief, therefore, the only thing I can say to someone who starts is: love what you do and remember, as Cartier-Bresson said, "that your first ten thousand photos are your worst photos". TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AC: I don't work on projects. I only take photos. I would like each photo I take to be unique, independent, capable of conveying some emotion or idea without having to embed it into a coherent whole. I don't know, maybe when I retire I will try. TPL: If I wasn't photographing what would I be doing?... AC: In my case, the last question would be the following: if you weren't working, what would you be doing? Angel kicks the streets to feel that strange and healthy feeling of stopping time. He simply lets any reality invoke him. To see more of his photography please use the links below. VIEW ANGEL'S PORTFOLIO Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

RANDOM PASSERSBY Vanessa Cass's energy and spirit, as well as her art and photography, tell a brilliant and unique story of everyday life in Haiti. RANDOM PASSERSBY November 5, 2021 INTERVIEW PHOTOGRAPHY Vanessa Cass INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Vanessa Cass is an abstract street photographer born in Maryland, living and raising her family while creating her art in Haiti. Her collegiate studies as well as her extensive training with renowned Haitian artists, which include Roland Dorcely, Tiga, and Arijac, have influenced and inspired Vanessa’s unique visions in photography. Her 25 years of painting and art background give Vanessa’s photography a painterly aspect, switching out the paintbrush for her camera. What began for Vanessa as a passion and a self taught medium for expression, inspired her to take many workshops and courses with renowned street photographers, giving her the knowledge to develop her street photography and art. Utilizing the camera as a tool she explores the human condition, ironies, and contradictions found in everyday life in Haiti. Photography has given her a voice in documenting social issues, bringing awareness and light to a challenged community. Vanessa does not dwell on the negatives or darkness, but sees balance and light and hope, a catalyst for her distinctive style of work, forever growing and evolving, challenging herself with new endeavors to expand and broaden her work. She is currently studying curation, abstract post modern art and photography, adding multifaceted layers of knowledge to her abstractions. Vanessa’s energy and spirit, as well as her art and photography tell a brilliant and unique story of Haiti. “One thing that burns a hole right through me, and that I carry with me, besides seeing what an incredibly resilient, strong and magical place this is, is that I know for sure that no matter how different we all are, no matter how wide the gaps are between us, we are all basically the same. Humans trying to get through life as best we can.” IN CONVERSATION WITH VANESSA CASS THE PICTORIAL LIST: Vanessa please tell us about yourself, and why Haiti has become home for you and your children. What is the anchor that keeps you there? VANESSA CASS: I am a soon to be 52 year old, single mom, artist, entrepreneur and photographer. In a whole series of circumstances beyond my control, I came here, and have been here, on and off for over thirty years. Living here can either truly be a wonderful Caribbean experience, or life on the edge, and extreme living. In a country plagued by political unrest, economic shambles and natural catastrophes, anything can happen at any time. What keeps me here? Somehow, through it all, I’m spoiled by actually being here in a tropical country and all the wonderful things that it brings, not to mention the incredible life lessons we learn on a daily basis. Some days, most days I think I’m insane for still being here especially as an American, but my time here isn’t up yet. TPL: After your friend gave you your first camera, how did you know it was a perfect fit? Did you think back to Roland Dorcely and his advice that what you learned from him in painting would better serve you when you found the right tools to explore your art? VC: It just felt right. I loved how I could transmit a mood, or a feeling through what I saw in the lens, and it wasn’t a struggle to get it down I immediately thought back to him and his words about how painting wasn’t going to be my niche, but that I would definitely be able to apply what I learned with him to the the field that would be for me. He was 100% right. TPL: What made street photography the inspiration for your photographic style? Describe your style separate from street photography. What does street photography mean to you? VC: I loved the fact that I could see life happening through others and catch the slices of it. I also love how street photography offers you situations that you can’t make up, it’s raw and real, it’s movement. To quote The Dictionary of Obscure Sorrows: “sonder" - n. the realization that each random passerby is living a life as vivid and complex as your own—populated with their own ambitions, friends, routines, worries and inherited craziness—an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk. TPL: How have the streets and culture you capture influence your photography? How have your captures changed the way you see Haiti? VC: One thing that burns a hole right through me, and that I carry with me, besides seeing what an incredibly resilient, strong and magical place this is, is that I know for sure that no matter how different we all are, no matter how wide the gaps are between us, we are all basically the same. Humans trying to get through life as best we can. The streets here are vibrant and alive on one hand, but extremely gritty and dangerous on another hand. I’m Wabi Sabi, my nature is to try to show beauty in the darkest or unexpected places. That’s what this country is made up of. Beauty alongside horror. TPL: Street 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 an incident you can recall that will always remain with you, that changed your view of the world in which you shoot in? VC: Absolutely. I will never forget on a Sunday morning, I was standing in my usual spot, and I saw a man pulling, a young girl about 12, and she was crying, begging him to let go of her, she could barely walk, he saw me, and saw my camera and he panicked and she got away. He ran in the other direction and sent someone to go get her, and I looked at the other guy and told him to let her go, he saw my camera as well, and pretended to look for her, but he let her go too. I have ideas as to what the story was, but I’m so grateful she got away. TPL: You have mentioned you write stories, what are your stories about? Do your photographs inspire you to write? If so, what do you write with that inspiration? Do the streets and culture that surround you inspire words or writing? VC: That is so funny that you ask, actually my answer is funny...I actually write about snapshots of my life, moments lived, "etat d’âme". Sometimes I think my life is an episode of Curb Your Enthusiasm, so I find myself writing about ridiculous situations I find myself in. I also love talking about food, and moments around a meal, so I’m putting together a compilation of short stories about my sensorial, (not a word) journey and memories around food. I’ve put together a book/photo book that has yet to be published, working on it, but funnily enough I have never written anything about Haiti, I may allude to certain experiences with people but, never actually about this place. I loved the fact that I could see life happening through others and catch the slices of it. I also love how street photography offers you situations that you can’t make up, it’s raw and real, it’s movement. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VC: I am inspired by all forms of art, so music and art definitely inspire me. I’m obsessed with the Harlem Renaissance, all aspects of it, and I think that has shaped my photographic style as well. I also love minimalism, and contemplative photography so somehow I think they all seep in somehow. There are so many photographers I am in awe of. Daido Moriyama, Dorothea Lange, Diane Arbus, Mary Ellen Mark, Ray K Metzker, and so many more, not to mention all the extremely talented photographers that I know and get to be surrounded by their work on a regular basis here on social media. It’s a great time to be alive for artists. TPL: What are any lasting impressions you would like to leave the viewer? What is their ‘Take Away’? VC: Hopefully, on a local level, that beyond everything you’ve heard or know about this country, that it’s a very beautiful and magical place and the people are incredible fighters. On a global level, that there is definitely beauty in the broken and dark parts of this life. TPL: What are some tips or advice you would give yourself if you started photography all over again? VC: I’d tell myself, to not be cocky. No one likes to be photographed, so if you do it, let them keep their dignity. In Creole , here, there is a saying. Loosely translated, it says, “You have to know there, to go there.” So whatever it is you want to capture, have an idea of the culture, and the mores. Go slowly, don’t push, don’t be arrogant and don’t fight back when confronted. Also, don’t delete any pictures, you would be surprised when you go back to your archives a few years later, you’ll see how good some where. There’s a lot to be said for not knowing some rules and being wild eyed...which also goes hand in hand with, build your own personal style, but don’t be afraid to to try different things and subjects. TPL: You talked earlier about how the Haitians generally don't like to be photographed, is this because of superstition or cultural beliefs? VC: It comes down to them feeling exploited by foreigners, which up to this day, I am considered to be one. They think I’m making money with their lives, while they have very little. 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? VC: I am currently using my Leica DL7. It took me a while to figure it out, it I can honestly say it pushed me to see and compose my shots differently. I love it. I have no real preference for settings. I usually shoot from the same distance just because I need to be somewhat anonymous. I find most of my photos are taken at f5.6/34 mm. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? VC: To be, hopefully much better at it than I am today, able to travel the world photographing people just being people and hopefully making a living exclusively from my different art forms. Vanessa's energy and spirit, as well as her art and photography, tell a brilliant and unique story of everyday life in Haiti. We are grateful to Vanessa for sharing her photography and inspirational words with us. VIEW VANESSA'S PORTFOLIO Read story THE GOLDEN HOUR OF HAITI Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

I am Kevin Icabales, a Filipino street photographer born in Manila, Philippines. My love for candid moments led me to street photography. It also helps me to develop my integrity and patience as a person. Stories of my photographs usually are humorous and unusual scenes. KEVIN ICABALES I am Kevin Icabales, a Filipino street photographer born in Manila, Philippines. My love for candid moments led me to street photography. It also helps me to develop my integrity and patience as a person. Stories of my photographs usually are humorous and unusual scenes. LOCATION PHILIPPINES CAMERA/S Fujifilm X-T3 WEBSITE https://kevinicabales.myportfolio.com/ @KEVINICABALES FEATURES // Let There Be Light

VISUAL ANTHROPOLOGY Bogdan Oiţă is a social worker and trusts in the power of photography in a social documentary and socio-emotional therapy way. VISUAL ANTHROPOLOGY December 9, 2020 INTERVIEW PHOTOGRAPHY Bogdan Oiţă INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Often, Romanian photographer Bogdan Oiţă likes to think that he deals with the rediscovery of meanings through his practice of film photography and trying to shoot relevant moments of people's lives and habits, beyond the supra-aesthetic aspects of photography. Bogdan is a social worker also studying visual anthropology, in which he trusts in the power of photography in a social documentary and socio-emotional therapy way. “Growing up in Targu-Jiu, a small city in Romania, I did not have access to a vibrant community of diverse crowds and spaces – one which I could identify with. Thus, I spent a lot of time by myself, increasingly drawn to the arts, which I eventually pursued academically, during high school. At my high school in Targu-Jiu, I was given the opportunity to explore the art field, learning about painting and graphic drawing. However, the very same environment that was supposed to be inviting, creative and positively challenging unfortunately became a significant source of social pressure and discouragement for me, which in turn negatively impacted the visions of exploring the arts that had permeated my life for so long.” IN CONVERSATION WITH BOGDAN OIŢĂ THE PICTORIAL LIST: Bogdan, can you please tell us when you first became interested in photography? BOGDAN OIŢĂ: Despite my personal struggles, my passion for visual arts has always prevailed, and is now more tangible than ever, in my profession as a social worker in Bucharest. Navigating social problems and field work in urban areas, through different lenses, equipped with tools from the field of social work, my previous artistic pursuits and my current studies in visual anthropology, I naturally developed an interest in photography and now find myself documenting urban life, from the streets of Bucharest, in my free time. In my perspective, there is an inevitably strong connection between the concepts and practices of social work and street photography or social documentary photography, and my intention is to highlight such connections, capturing and bringing attention to the complexity of everyday life. TPL: Where do you find your inspiration? And do you have a favourite place to shoot? BO: Urban life inspires me as it offers insights into the dynamics of daily social relations and interactions, different cultural aspects, and more fundamentally, the use or occupation of public spaces. In other words, I find inspiration in people, observing different social groups as they navigate the streets and public spaces of Bucharest. In many ways, I believe that street photography helps us understand a lot about the complexity of human life, including the cultures and subcultures that inform street interactions and behaviors, by observing the ways in which people occupy, interact and carry themselves in public spaces. Documenting life from the streets is particularly appealing to me, as I like to explore diversity and representation in the most vibrant, crowded places, where people have access to a wider cultural palette to choose from, in regard to self-expression. Generally, I think that 'Piața Unirii' (Union Square), in Bucharest, is one of my favorite places to shoot, as it serves as a meeting point where people from different social environments come together; it invites me to examine different social interactions and how such interactions transform urban environments. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? BO: In my work, I try to capture raw, real-life experiences and moments, as observed in the streets of Bucharest, as intimately as possible from a member of community. Through these observations and by applying perspectives from social work to landscapes for street photography, I can discover more about different social structures, mechanisms and relationships. More importantly, combining different practices, I can construct stories, but also learn more about people and to portray them truthfully, just like they are, to promote acceptance, tolerance of others and also minimising pressure on vulnerable groups. Based on my social work practice and field observations, I think that the lack of tolerance of other social groups is a significant social problem across all professional fields, including the arts, which we can see clearly now in different street protests around the world or relations between different cultures at this time of global pandemic. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BO: I find inspiration in different artists and enjoy a wide variety of artwork. I often stumble upon new, interesting pieces on a daily basis, especially at this time where digitalization of the arts is increasingly in demand or necessary for access. Further, even though the art industry consists of a rather small international community with limited political power invested in its artistic and cultural fields, the production of arts continuously evolves. We can witness a substantial expansion in the field of visual arts today; in many ways, the world becomes visual. There are more opportunities to explore artistry than ever, which also enhances access to the arts for the average person; it is not so difficult to find really good artists today, in comparison to the past. In my case, however, I believe that I am more influenced by different artistic styles and movements than by a particular artists. I am interested in symbolism, street arts and documentary works. Sure, I appreciate classical art works, but at the same time, I am concerned that we tend to forget about the present, used to living in the past and referring to somewhat outdated, or at the very least, limited standards, perhaps more in the artistic field than in others. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? And why? BO: From my point of view, the lyric or quote that you should keep close to your heart is one that makes you trust in yourself, in your capabilities and which strengthens your character. I like the lyrics from a Manele song: ”I feel like a Russian tank, whatever I do I don't get tired.” (Sorinel Pustiu –Tanc Rusesc). Maybe some people will find it stupid, not only because of the absurdity of the line itself, but because Manele's music comes from the most discriminated social group in my country. Regardless, it makes me feel better and makes me trust I can do what I want to do; I especially turn to this song when I feel energy less or hopeless. 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? BO: The photography industry can be absurd at times. People spend money that they don't have on technological features that they usually don't need in their photographic work. Unfortunately, the system of capitalism has penetrated this field too, and in many ways, photography has become a refined hobby for particular high standing social classes. Social pressure leads people with limited resources to involve themselves in toxic relations with the banks and credit institutions, merely to pursue their passions. I stress the latter, not because pursuing your passion is wrong, but because you should not have to suffer to achieve your goals, or to find yourself in a situation where you become heavily indebted just for trying to live your passion. I strongly believe that we can deliver high quality performance in our photographic work and projects, with modest equipment. For example, I currently use a film camera, a second-hand purchase, for $50, and I love it. I think film cameras can help you a lot when you are practicing different techniques and familiarizing yourself with the field of photography and the technical features or functions of the camera. In general, if I decide to buy a new digital camera, I am sure that I will choose a cheap one and that a simple equipment will be sufficient for my use. I believe that street photography helps us understand a lot about the complexity of human life, including the cultures and subcultures that inform street interactions and behaviors, by observing the ways in which people occupy, interact and carry themselves in public spaces. TPL: When you go out on the streets, 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? BO: In general, I always have something in mind or start off with some ideas based on elements of social work or particular theoretical perspectives that I find interesting and valuable to apply to practice. I also keep an open mind and explore my ideas while engaging in observations, of people or the street, which is like a river, always changing. Thus, I often discover new ideas or images that tell me more about social life and particularly, how social life expresses itself in a visual way. TPL: Have you ever been involved in the artistic world before photography? BO: I always had an interest in the arts, especially in the field of visual arts, which led me to choose a high school that specialised in such majors. During high school, I was interested in different art projects and art networking, but now I perceive and analyse arts more from the lens of social work and visual anthropology. I no longer have an empty slate from which I can look at arts in a 'pure' way; right now, I see arts as more of a tool to use to address social issues. TPL: What are some of your goals as a photographer? Where do you see yourself or hope to see yourself in five years? BO: In the future, I think that I would like to create an NGO that promotes street art projects and the right to use public space, supporting cultural and artistic expressions but also social integration or social justice initiatives. I often witness structural aggressions against different social groups in public spaces. While not explicitly articulated, there is the idea that not everyone is welcome in the streets, and certain mechanisms put in place to ensure such continued exclusion, often in a less recognizable or indirect way, to prevent strong reactions and social awareness. To fight back, I intend to resist and oppose such mechanisms, to specifically provoke strong reactions and make more people realize the significance of the discrimination we continuously perpetuate with our inaction. I particularly want to bring attention to the vulnerability of homeless people in the streets, who are constantly denied access to public space. Above all, I think that artistic and cultural projects can cover many social problems that prevail in public spaces. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? BO: Right now, I am in the process of refining my skills and exploring ideas for future projects, and I wish to develop a project that meaningfully contributes to artistic and cultural development, but also which addresses social issues. TPL: "When I am not out photographing, I (like to)… BO: I like to go for walks. While the streets offer significant value to me, I am also drawn to the streets on a daily basis, even when I am not out photographing. Walking makes me feel good and gives me energy to do my daily tasks. It also gives me the opportunity to connect with people and to discover unique life stories. Apart from my personal and professional interest in street life, I enjoy spending time on Instagram and other online communities, to meet people from all over the world, who share similar interests. The combination of Bogdan's previous artistic pursuits and studies in visual anthropology led him to develop an interest in photography and now finds him documenting urban life by looking at social problems and field work in urban areas through different lenses, equipped with tools from the field of social work. Visit his website to see more of Bogdan's photography. VIEW BOGDAN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

THE STUDY OF LIFE Through her photography, Jo Kalinowski has allowed herself to discover an emotion or thought that has connected her past to her present. THE STUDY OF LIFE June 12, 2020 INTERVIEW PHOTOGRAPHY Jo Kalinowski INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For Australian photographer Jo Kalinowski, her photographs are a process of understanding parts of her life that have been defined by living or existing in different places. Isolated feelings and experiences that do not necessarily need to be attached to a particular place or location. By creating compositions of everyday things and the study of human life through her images, Jo has allowed herself to discover an emotion or thought that has connected her past to her present. Jo has fused her worlds together, subconsciously disconnecting fragments of time. “I was surrounded by art and photography from a young age, though my own personal journey as a photographer began only four years ago.” IN CONVERSATION WITH JO KALINOWSKI THE PICTORIAL LIST: Jo, where do you find your inspiration to photograph? JO KALINOWSKI: I find my inspiration all around me. I am inspired emotionally and visually from everyday scenes, music, interactions. I am inspired by light, shadow, color and forms, finding the beauty in the most ordinary. Connecting with fellow photographers all over the world has been hugely inspiring. A strong visual literacy has continued to build through relationships with these photographers whose practices vary in content and technique. TPL: Your images share a feeling of intimacy. How do you manage to achieve this so consistently? JK: Gosh that's a hard one! I aim to create scenes around the concept I am investigating. The intimacy comes from the need to express ideas with a creative approach to getting at something deeper than our common notions of family photographs. TPL: Do you have a favourite place(s) to go photograph? JK: I love the challenge of shooting in different environments. It is how I have learnt different skills. I honestly don’t have a favourite place to shoot. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? JK: Artists such as Rothko, Jeffrey Smart and Matisse are just a few that have inspired me greatly. Photographers such as Martin Parr known for his photographic projects that take an intimate and gentle satirical take on people and their cultures. Nan Goldin, known for her deeply personal and candid portraiture, Sam Abell, and the list goes on... TPL: Has your style of photographing changed since you first started? JK: My style of photographing has most definitely changed. When I first began this journey a few years ago I created minimal and urban images, finding that beauty in the mundane. These days I am drawn to documentary photography. Creating scenes around a concept I am investigating, capturing candid moments that tell a story, preferably triggering the viewers mind to see something beyond the image itself. My style is constantly evolving. I am inspired by light, shadow, color and forms, finding the beauty in the most ordinary. TPL: What characteristics are needed to become a 'good' photographer? JK: Imagination, curiosity and a creative mind. TPL: You told us that you once were a hair stylist and an artistic director for 15 years involved in shows and magazine work. Do you think that influenced your focus on details that is evident in your photography? JK: Hairdressing was definitely my first creative journey and one that certainly sparked my eye for fine details. More recently I have been influenced through my own personal photographic journey creating minimalist style fine art photography. Connecting with fellow photographers all over the world has been a real joy. A strong visual literacy has continued to build through relationships with these photographers whose practices vary in content and technique. TPL: Do you think equipment is important in achieving your photographic vision? What would you say to someone just starting out? JK: I use a Canon 6D with a 50mm lens or my new favourite 28mm lens. I use a Canon Speedlite 430EX 111 flash when I want to add a sense of dramatic lighting making the photo seem more theatrical. To someone starting out I would say the camera does not make the photographer! TPL: Are there any special projects you are currently working on? JK: At present I am working on an ongoing project connected to my work in a residential aged care facility. Capturing still life moments, I aim share aspects of lives of residents through images of their personal treasures, to share the beauty and the riches or their unnoticed worlds. TPL: "If I wasn't photographing what would I be doing?... JK: When not photographing I am working; a mother of two teenage girls and being a wife!" Jo Kalinowski's photography serves as an exploration of the different places, moments, and experiences that have shaped her life. Through her powerful images, Jo has unlocked the ability to capture emotions and memories in a way that we as viewers can relate to. Her photographs are a reminder that all of our personal stories are connected and that we are, in essence, all part of one collective story. To see more of Jo’s work, connect with her through her photography and explore the stories behind her images. VIEW JO'S PORTFOLIO Jo's website >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance.

Eric M. Renard is a Los Angeles based Photographer. Born in New York, he attended school in Riverdale, New York. Eric spent his summers in Maine, where he was first exposed to photography and learned his way around a dark room. Eric’s passion for photography was once again ignited at Tufts University in Boston, where he studied under Siegfried Halus. After graduating, Eric moved to San Francisco, as an architectural photographer before moving to Los Angeles. Eric’s unique exposure to both urban and rural living can be seen throughout his work, as he is equally at home in both settings. Whether working in black and white or vibrant colors, his urban cityscapes and rural landscapes often reflect an eerie sense of peace and quiet, rarely portraying more than one or two people. Eric’s photography has been exhibited in galleries in Los Angeles and Minnesota and viewed digitally around the world, receiving numerous awards. ERIC RENARD Eric M. Renard is a Los Angeles based Photographer. Born in New York, he attended school in Riverdale, New York. Eric spent his summers in Maine, where he was first exposed to photography and learned his way around a dark room. Eric’s passion for photography was once again ignited at Tufts University in Boston, where he studied under Siegfried Halus. After graduating, Eric moved to San Francisco, as an architectural photographer before moving to Los Angeles. Eric’s unique exposure to both urban and rural living can be seen throughout his work, as he is equally at home in both settings. Whether working in black and white or vibrant colors, his urban cityscapes and rural landscapes often reflect an eerie sense of peace and quiet, rarely portraying more than one or two people. Eric’s photography has been exhibited in galleries in Los Angeles and Minnesota and viewed digitally around the world, receiving numerous awards. LOCATION USA CAMERA/S Canon, iPhone WEBSITE http://www.ericrenardphotography.com @RENARD_PHOTO @ERICRENARDPHOTOGRAPHY FEATURES // Urban Places