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

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

Be inspired by the photographers on the 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

We are on a mission to discover new photographers, and the most pictorial and interesting photo stories out there. SPOTLIGHT / IRINA SEDLETSKAYA Karagandy KAZAKHSTAN AARON RUBINO ABBIE BRIGGS ABDULLA SHINOSE CK ABHAY PATEL ABHISHEK SINGH ADAM SINCLAIR ADESH GAUR ADRIAN PELEGRIN ADRIAN TAN ADRIAN WHEAR AGATA LO MONACO AHMET HOJAMYRADOV AJ BERNSTEIN ALAN THEXTON ALEJANDRO DAVILA ALESSANDRO GIUGNI ALEX FRAYNE ALEX GOTTFRIED BONDER ALEX RUTHERFORD ALEXANDRA AVLONITIS ALEXANDROS ZILOS ALEXEY STRECHEN ALICIA HABER AMY HOROWITZ AMY NEWTON McCONNEL GET ON THE LIST © Ypatia Kornarou

The Pictorial List is a global online magazine exploring the beauty and complexity of all things photography. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. Latest features PICTORIAL STORY A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. PICTORIAL STORY THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. INTERVIEW THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. BOOK TÜRKIYE Rpnunyez offers a thoughtful portrait of a country shaped by history, culture, landscape, architecture, and everyday life. BOOK BETWEEN SEA AND SKY Through walking and flight, Massimo Lupidi reveals Cinque Terre as a landscape shaped by attention, endurance, and the intimate bond between land and human life. INTERVIEW MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. INTERVIEW THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. PICTORIAL STORY ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. INTERVIEW WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. PICTORIAL STORY COLORS OF HUZUN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. PICTORIAL STORY OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. PICTORIAL STORY REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. PICTORIAL STORY WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. PICTORIAL STORY LAND, LABOR AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. 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. AUGUST ART SERIES PICTORIAL FOUNDATION FILM FEST August 8 & Repeat Screening on August 9 Preshow drinks & treats @ 7pm | screening begins @ 8pm The Pictorial Foundation Film Festival brings together a curated selection of documentary, experimental, performance, animation, and artist films. Presented within our ArtSpace, the program explores the moving image as a site of artistic inquiry, visual storytelling, and shared experience. Join us for two evenings of contemporary cinematic practice. BUY TICKETS The Foster Portfolio (2017), film still. Courtesy of Danielle Katvan. © Danielle Katvan REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. New York, New York! PICTORIAL STORY NYC SUBWAY RIDERS BEFORE THE INVASTION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy. INTERVIEW FABRIC OF NEW YORK VISUALS Elle Clarke lives NYC — snapping its heart and hustle with her smartphone, one real city moment at a time! INTERVIEW NOD OF RECOGNITION B Jane Levine’s portraits give a playful wink — inviting a nod of recognition to the hidden stories we all carry inside. INTERVIEW NEW YORK IMPROVISATIONS Fast-moving, off-kilter, witty, raw and classic film noir define Bill Lacey's photography. PICTORIAL STORY MERMAID MAGIC AJ Bernstein captures the magic of the Mermaid Parade—where fantasy, freedom, and community come together in a sea of color and joy. INTERVIEW GOTHAM MEMORIES Jeff Rothstein clicks, time unfolds — capturing the heart of the city in timeless frames, from 1969 to today. PICTORIAL STORY TAKING THE PLUNGE Carol Dronsfield takes the plunge with the Coney Island’s Polar Bears, capturing the chill, the thrill, and the heart. INTERVIEW THE AUTHENTIC GAZE Amy Horowitz says “Don’t Smile”— and in doing so, captures the real and wonderfully unscripted faces of New York City. VOLUME ONE- NEW YORK BUY NOW join the Pictorial Community >>> Follow us on Instagram #thepictoriallist @thepictorial.list Load More LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. 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

LIVED SPACES Ryan Dodd's project about 'lived' spaces is designed to pose questions...What happens on these streets? What happens inside these homes? LIVED SPACES March 22, 2021 INTERVIEW PHOTOGRAPHY Ryan Dodd INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Every day, all around the world, billions of people are living their lives without us ever noticing. Photographer Ryan Dodd has set out to capture these overlooked moments and to tell the stories of the unseen inhabitants in a series of photographs. Unlike many photographers, Ryan chooses not to impose his presence but instead allows the moment to unfold in front of him naturally. His photos aim to make us ask questions: what happens on these streets? What happens inside these homes? Through his thoughtful observations, Ryan focuses on the small details that are so often overlooked in our everyday lives. Capturing these fleeting moments, he hopes to bring attention to the people living within these ‘lived’ spaces, allowing the audience to discover something new and to appreciate the beauty in the ordinary. Join us as we explore the captivating work of Ryan Dodd and his ongoing project about 'lived' spaces. “I am interested in the urban places where most people live. I find that there is a kind of energy to those areas that draws me in. In England, these city spaces can look similar, but I find there’s a lot to observe if you take your time. Right now I’m finding plenty to interest me locally.” IN CONVERSATION WITH RYAN DODD THE PICTORIAL LIST: Ryan please tell us about yourself. How did you become interested in photography? RYAN DODD: I was born in the South of England, where I still live. Photography wasn’t the first medium I engaged with creatively, I actually have a background as a graphic artist. Nearly ten years ago I had a graphic novel published. At some point I found that drawing was too slow and could no longer do what I wanted. So I pretty much quit doing that. I picked up a camera one day and decided why not, what could there be to lose in trying it? I liked the way it felt to take photographs so I’ve continued it ever since. I still do sketches sometimes but it’s extremely sporadic. TPL: Where do you find your inspiration? RD: I draw my inspiration from what I discover out in the field. TPL: What is it that you enjoy about 'banal' photography? What happens when you walk the streets with your camera? Explain your technique? Have you ever had a negative encounter? RD: I take inspiration from the spaces and objects I encounter when I am out taking photographs. Essentially I spot something that I want to investigate further with the camera. If the area is busy I’ll walk around the block until it isn’t. Sometimes the area is fenced off and I have to find some way to get creative about getting the photograph. Or I’ll come back and explore the same area taking a slightly different route. Quietly observing and waiting for something to reveal itself to me is at the heart of my process. I can recall a somewhat funny negative encounter. I was photographing an aerial on top of the roof of a house. I thought the way the wispy clouds in the sky framed this object was kind of interesting. Anyway, the owner of the house didn’t take kindly to me standing there taking photographs, and opened a window up ready to shout at me. I explained that I was an artist and that I was just capturing the thing on their roof against the sky, and they actually seemed quite pleased after that. 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? RD: I sometimes go out with a plan, having thought about some aspect of a photograph I have taken or seen, or some idea that I want to be able to convey using the medium. But once I’m out in the field, no matter what my plan was, something else always presents itself to me and I have to go with it. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? RD: I’ve been a fan of Slavoj Žižek for a while. Admittedly some of his writing is borderline impenetrable. But unlike a lot of academics of his standing he has a very cheeky sense of humour which makes him much more relatable and entertaining to listen too. I’ve liked the notion that ideology guides or constrains so much of our thinking and Žižek has a pretty humorous allegory for this. “I already am eating from the trash can all the time. The name of this trash can is ideology. The material force of ideology makes me not see what I am effectively eating.” - Slavoj Žižek Žižek mentions this in an analysis of John Carpenter’s ‘They Live’, which just so happens to be one of my favourite movie directors and films from my teen years. It’s in this same piece of analysis that Žižek talks about “pure ideology”. Which is probably what he is most known for in terms of internet memes. I like the idea that something can be revealed through a photograph that otherwise you wouldn’t have thought of or even noticed. Where possible I like to incorporate chance and the accidental into my work. TPL: What has been the best advice you have ever received in photography? RD: I went to meet with a mentor at the Aspex Gallery to discuss my work. It was suggested to me that I take a look at William Eggleston and Martin Parr’s photography. I had come across their work before but had never owned any of their books. I started to seriously invest in photography books after that. I had studied for a Bachelor degree in Web Science at the University of Southampton before, and it was suggested in this same meeting that I go on to pursue a Master’s degree in Photography. That is what I’m currently studying. 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? RD: My approach relies on the technological limits of the camera not restricting my ability to respond spontaneously. So the camera will inevitably get in the way at times, and of course light conditions are always a factor. I have used a rather outdated Pentax K-x DSLR that I find can add in some rather interesting grain and grittiness to some photographs. But I’ve also had the chance to use a Nikon D3400, a Fujifilm XF100, and a Canon EOS 5DS. An 18-55mm, or 24-70mm lens has been my favourite for the ability to quickly switch between different compositional possibilities. There is also something to be said to restricting yourself by using a fixed 23mm lens as was the case with the Fujifilm I used. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RD: Eggleston’s work helped give a feeling that what I was doing in photographing mundane, everyday scenes had some purpose behind it, even If I couldn’t understand what exactly that was. I look outside of photography as well, some of my favourite artists are Emil Nolde, Pieter Bruegel, Maurice Utrillo, and Tom Roberts. 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? RD: I’m right in the middle of putting together a body of work in the banal genre, building it, refining it. I’m hoping to find the right space for it once it’s finished but there is still a little way to go. And eventually putting together a photography book of my own. When it comes to the specifics of how to reach these goals, I don’t tend to think as far into the future as five years. I feel it’s a distraction to think beyond exactly what I’m trying to do right now. TPL: When I am not out photographing, I (like to)… RD: I’m constantly thinking about ideas. I’ve had the opportunity to engage with some of these ideas in my Master’s degree. I also enjoy walking and daydreaming. In my down time I enjoy watching slightly outdated cheesy TV dramas like ‘Lost Girl’. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

GLIMPSES OF REALITY Marc Pennartz ambiguously photographs the public space, an environment designed by people, showing people that are not always the subject. VISUAL AMBIGUITIES July 23, 2021 INTERVIEW PHOTOGRAPHY Marc Pennartz INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As a society, we often can be drawn to what is beautiful and perfect. However, Belgian street photographer Marc Pennartz has a different eye. He delights in the strange, the forgotten, the imperfect – the scenes that, on first glance, may seem meaningless. He revels in the chaos of daily life and enjoys surrendering to chance. His photographs can be mysterious and ambiguous – he captures a moment and leaves it to the viewer to interpret. Marc was born in the Netherlands, lived in Sweden, and is now based in the Antwerp region of Belgium. He initially picked up a camera to illustrate articles he wrote as a journalist. Over time, however, he has devoted himself to his own interpretation of street photography. He uses a simple and lightweight digital camera to take shots in public spaces, often featuring people but rarely making them the focus of the photograph. The images Marc produces tend to lean towards the abstract. He wants to evoke an emotion but leaves it all up to the viewer's imagination. He often lectures and conducts workshops on street photography, sharing his distinct vision with others. Marc is a passionate photographer who believes that the best photographs are those that are not fully understood and instead require examination and contemplation. For him, the beauty lies in the unknown. “I think every great photograph has a McGuffin too: an element that you can sense without seeing it. If you feel there is one in a given situation, click! If you don’t feel it, look elsewhere. Put a few McGuffin's together and you have a reflection of your personality.” IN CONVERSATION WITH MARC PENNARTZ THE PICTORIAL LIST: Marc please tell us about yourself. How did you become interested in photography? MARC PENNARTZ: I was born in the Netherlands, spent some time in Sweden and now live in Belgium. I’m a photographer, copywriter, journalist, website creator, content manager, writer of fiction and nonfiction, musician, blogger and also give street photography workshops when the coronavirus allows. My father was a hobby photographer and my first camera was a Kodak Instamatic which I got in my early teens from my older brother. I immediately liked it but it wasn’t until I worked as a magazine editor before photography became more important. When living in Sweden I never left home without a point and shoot, taking snapshots in the forest, and about five years ago, street photography came into my life. TPL: Your work has been best described as 'glimpses' of reality. Tiny fragments of what is around us. Artists often build up and experiment towards a method of working. Has your imagery become more abstract over time, or did you know exactly what you wanted from the beginning? What has been the inspiration for your street photography? MP: In my street photography, I initially took the traditional approach, trying to document human life in the city, but I quickly felt something lacking. I didn’t feel any magic in randomly taking pics of people on the street. Duane Michals once said that photos shouldn’t tell you something you already know, and I agree. So gradually I began to pay more attention to architectural elements, colors, reflections, trash and lots of dirty windows, to make my images more interesting and add a little bit of mystery or wonder. Do you know what a McGuffin is? Alfred Hitchcock used the term for a device or driving force for a movie that more often than not is invisible. I think every great photograph has a McGuffin too: an element that you can sense without seeing it. If you feel there is one in a given situation, click! If you don’t feel it, look elsewhere. Put a few McGuffins together and you have a reflection of your personality. TPL: Talk to us about your stunning virtual 3D exhibition and book "Searching For Quiet". You also stated, "I could have jumped in front of a train, but went out on the street instead and frantically started shooting in a desire for peace and quiet. I have not yet returned from that trip." Could you explain to us what you mean by this? MP: Street photography came into my life at a time when I was confronted with a terrible series of setbacks in my personal life. Going out on the streets enabled me to forget about all the misery. I guess making art, in whatever form, always is a way of coping with the darker side of life. Call it self-therapy or escapism. You create your own little universe in which you are in control, and nothing from the real world can interfere without your involvement. In a way, artists are people who love to play God 😊 The exhibition gave me the chance to see if my pictures of scratches, broken glass, graffiti, containers, torn plastic and lonely people would work in the sterile environment of an art gallery, be it a virtual one. It’s funny how photos feel different when you change the context. Normally, when I look at one of my street photos, I still hear the traffic or smell the diesel from a passing van, but when presented on a clean white wall and with civilized piano music, it suddenly becomes an almost pastoral thing. Weird. TPL: Do you think this is the way of the future having 3D virtual exhibitions? Some prefer them, as it gives them the opportunity to be able to reach that global audience. What are your thoughts? What was it like curating your own exhibition? MP: I think virtual exhibitions are more like alternatives for slideshows and online portfolios, rather than a replacement for real exhibitions. The problem is that in art, size matters. People will always want to see the real thing at a proper size. It’s also fair to say that images that are rich in detail simply work better when they’re big. Besides, exhibitions are also social gatherings that many of us don’t want to give up. Nevertheless, 3D versions make a valuable addition and I’ve reached people that otherwise would not have seen my work. Choosing photos is of course never easy, especially if you first go through all your work, and then narrow it down to 40. I didn’t do that. Instead I chose to pick the ones that just came to my mind, based on the idea that you will always remember what’s really good. That way I got 60 or 70, and then I got down to 40 and turned it into a consistent collection. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MP: Just to name a few...Guy Bourdin for his provocative style and twisted humour. Ernst Haas for his incredible versatility. Sarah Moon for her otherworldly aesthetic. André Kertész for his humanity, Harry Gruyaert for his use of color, Edward Steichen for his romantic imagery. People keep telling me they see traces of Saul Leiter in my more abstract street work. He was a bit of an introverted outsider, and I guess, the same applies to me. I believe that your personality inevitably shines through in your choice of subjects and the way you approach them. TPL: Do you have a favourite place to photograph? MP: I almost exclusively shoot in Antwerp and Brussels, partly because they’re so close to where I live, and partly because I like the visual qualities of the urban chaos of Belgian cities. I love things that are “not right” and a bit ugly. However, if I would still live in a rural area, I would probably be a landscape photographer. Essentially, photography is not about trees or houses, animals or people, but about conveying emotion through shapes, contrasts, colors. You can find anything of that within few square kilometres around your home, wherever you are. Do you know what a McGuffin is? Alfred Hitchcock used the term for a device or driving force for a movie that more often than not is invisible. I think every great photograph has a McGuffin too: an element that you can sense without seeing it. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? MP: I very much rely on instinct. Concepts sometimes emerge from the work I have done, instead of the other way round, and then I sometimes use them to build upon. Normally, I leave much to chance and what happens to meet my eye. When I walk in the city, I focus on light, shadow, textures, structures, glass or color. When I see something interesting, I compose the image and then often wait to incorporate some human element. A hand, shade or the back of a head is enough to add life and a sense of proportion. But people are not a must. It really depends on the situation. TPL: You said that "brands don't shoot, eyes do!" Does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? MP: Many websites, youtubers and writers put a lot of emphasis on gear and settings. As a result, they create the idea that fancy cameras and certain settings make good pictures, but that’s not true. It all depends on who operates the tool. Michael Kenna made awesome work with a 50-dollar plastic Holga, André Kertész created magic with a Polaroid, and there are so many great images that are unsharp, or underexposed or overexposed according to the unwritten rules of photography. This is art. There’s no beauty in a histogram. The last few years I have been using two mirrorless cameras and a few prime lenses. I mainly shoot with a 50mm full frame for regular street photos and a 112mm for more abstract work. They are all budget models of different brands, yet fast and sharp enough for my needs. When I want some special effects, I play with my shutter speed or try double exposure. Or I put some olive oil on a UV filter, move the camera intentionally or shoot through plastic foil. It’s way more fun to find such solutions than to focus on new gear. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MP: Toughest question of the day. I never think in terms of career or goals, but as long as there’s still a McGuffin in my work, I'll be good. I also have some wild, secret dreams of exhibitions in unusual places, but I’m pretty sure they will remain a secret forever. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MP: Recently I started doing black & white photography again, to create dark and moody work with a slightly nostalgic feel. It also includes landscapes and nature. Feels like there’s potential there. I'm not quitting color photography though, nor will I quit street photography. I'm just searching for quiet with a broader horizon. TPL: When I am not out photographing, I (like to)... MP: Edit? PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

MAKING NOISE As a very sociable person and able to talk to everyone, street photography for Noisy Kid is an artistic discipline that he practices simply. MAKING NOISE February 23, 2022 INTERVIEW PHOTOGRAPHY Noisy Kid INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Noisy Kid has been around for quite a while; first as a musician, and now as a photographer. His fun, outgoing personality and willingness to talk to anyone make him the perfect street photographer. He's known for his unique style, which he describes as 'Wherever you are, I shoot you!' His photographs capture candid moments of everyday life with an attitude that's both playful and spontaneous. At an exhibition of his work, a lady asked him how he could photograph people so easily. Noisy Kid explained that he has the ability to connect with people quickly and without hesitation. He never waits hours for the perfect moment and instead relies on his instinct and proximity to his subjects. He's an artist with a distinct approach that comes from his experience as a musician, and as a photographer, he has mastered the art of noise in photography. “I played guitar in a punk rock band with which we did a few gigs. I had a tumour on my auditory nerve and after the operation it was prudent to stop playing music. I am a bit deaf on the left side. My nickname as a musician was Noisy Kid, now it is my nickname as a photographer. I was lucky because the notion of noise exists in photography.” IN CONVERSATION WITH NOISY KID THE PICTORIAL LIST: Noisy Kid please tell us about yourself. NOISY KID: I am a 53 year old Belgian photographer. I am very dynamic and very sociable. I live around 40 minutes from Brussels. My house is in the countryside, so it's pretty nice during a pandemic. Only the moment counts for me. I never analyse myself in relation to the past. Today I'm ok in a crazy world, I always see the glass half full, never half empty. I think that my sociable side is reflected in my images. I have a second job as an office worker (administrative expert). TPL: What draws you to photography and art? How did your journey into photography begin? NK: I started drawing when I was a little boy. I think the reason is simple, I liked comics and I wanted to reproduce what I was reading. There's nothing to intellectualise, that's the only reason. When I was older, I gave up drawing for music. I played guitar in a punk rock band with which we did a few gigs. The problem with the band was that one of the members was a drum machine, which never replaces a real drummer (at least at that time, late 90s). As for me, I had a tumour on my auditory nerve and after the operation it was prudent to stop playing music. I am a bit deaf on the left side. My nickname as a musician was Noisy Kid, now it is my nickname as a photographer. I was lucky because the notion of noise exists in photography. To start with, I bought a Nikon D7000 and joined a photo club whose members had a lot of experience and good advice. TPL: Tell us the story behind the series of images that you have sent to us. What do you want to express with your work? NK: I walk, I photograph, I talk to the people I sometimes put in the situation, I laugh. My photographs don't have to tell anything special, by its nature a portrait already gives off a lot of emotion. However, I always look at what is happening in the viewfinder of my camera. My eyes tell me if it's okay. Note that while I like photos that are simply beautiful and decorative, I do not reject those that tell a story. I've stopped photographing the homeless, it's too easy and I have no lessons to give. I prefer to give them $2 or a bowl of soup. TPL: What have been some of your favourite memories or moments in your photography journey thus far? NK: I will tell you about a moment with a London policeman I wanted to photograph. He was very playful and had a typical English humour. I felt that my camera was a remote control for him and only for him. I could ask him to do anything, even to jump in with both feet. I swear it wasn't Mr Bean. TPL: Do you have any favourite artists and photographers? NK: Robert Doisneau, Stanley Kubrick, Frank Horvat, Dennis Hopper, Léonard Misonne, Peter Lindbergh, Brassaï, John Bulmer, William Claxton, Bruce Gilden, Robert Frank, Lee Friedlander, Larry Fink, Walker Evans, Elliott Erwitt, Alice Springs, Chuck Close, René Magritte, Salvador Dali, Renoir, Piet Mondrian, J.M.W. Turner, Victor Vasarely, Paula Raiglot, Driving Dead Girl, Séverine Day, Hammer-Jam-Her,The Kinks, The Ramones, Cosmic Psychos, The Monsters, Ennio Morricone, Frank Sinatra, Rock garage, Punk-Rock, Hardcore, Alternative rock, Tim Burton, Alfred Hitchcock, Steve McQueen, Clint Eastwood, Burt Lancaster, Charles Bronson, Louis de Funès, Bourvil, Jean Gabin, Alain Delon, Jean-Paul Belmondo, Bernard Blier, Brigitte Bardot, Diana Rigg, Benny Hill, Jerry Seinfeld, Rik Mayall & Adrian Edmondson (Bottom), Marc Jolivet, Robin Pourbaix,... I walk, I photograph, I talk to the people I sometimes put in the situation, I laugh. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? NK: Peter Lindbergh, just great. I'll watch, I'll listen, I'll learn. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? How much post-processing do you do? NK: My favourite camera at this moment is the very versatile Nikon D750, perfect for me. I keep an eye on Fujifilm's medium format cameras, not just a dream, I hope. I always look for contact, proximity with people, I always face them. Therefore, a 24-70mm f2.8 lens and a 35mm lens are largely sufficient. I also use the 24-70mm when I take pictures during concerts. A 85mm lens is my maximum limit in studio photography (portrait, fashion photography). A 70-200mm f2.8 lens? Why not but rarely because I don't have this lens. For street photography, I sometimes use a cobra flash if it's absolutely necessary or to satisfy an artistic intention. I have 2 x « Elinchrom ELC 500 monolight studio flash » + many light shapers. I use Lightroom to develop my RAW files, I use Photoshop for retouching and editing. TPL: What are your goals as an artist or photographer? Where do you hope to see yourself in five years? What do you see as the next chapter in your exploration for future projects? NK: Let's just say I'll stop taking pictures when technology allows us to take perfect photos with our own eyes. Just to say, look Blincam in 2016, a wearable camera which attaches to any pair of glasses. It lets you capture the moment instantly by a wink, or a blink. There's already a race to develop technology for the contact lenses of the future. Medically it will be great, but artistically it won't be fun for me. We will be in the world of fast and effortless photography. In five years' time, I will of course still be there. The pandemic is constraining but I want to do new exhibitions. I also hope that my online shop will be successful. The large prints I sell have a really nice quality (piezography or chromaluxe). I don't sell worldwide. For the moment I only sell where I can deliver myself, so mainly in my Belgium. TPL: When I am not out photographing, I (like to)… NK: When I'm not out photographing, I like to listen to music, play guitar for myself...let my imagination go. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.

VISUAL AMBIGUITIES Through her photography, Alicia Haber's intentions are to question what is the 'realism' or what is the 'truth' to stimulate the viewer. VISUAL AMBIGUITIES May 3, 2020 INTERVIEW PHOTOGRAPHY Alicia Haber INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Alicia Haber is an esteemed Art Historian and Curator of Contemporary Art who has led a fascinating life of international travel and exploration. Born in Montevideo, Uruguay, she has since made a name for herself in the art world, receiving grants and invitations from universities and cultural institutions across Western Europe and the United States. Now retired, Alicia has taken up photography as her passion and is using her lens to challenge the notions of ‘realism’ and ‘truth’. Through her creative works, she encourages viewers to look beyond the surface and ponder the ambiguities of what they observe. Decades of exploration, study, and observation have made Alicia a masterful storyteller; her photographs are proof of her extraordinary eye for detail and her ability to capture profoundly captivating moments. Join us as we learn more about Alicia Haber, her eye-opening works, and her journey to becoming a renowned visual artist. “Since I was very young, but I only took photographs as a tourist, for my Art History classes, or of my children. I have been a photographer for the last two years and a half once I started studying photography. Then, after I knew how to deal with the technical aspects of my Sony Alpha 6300 and with editing with Photoshop, I started looking for my own subject matters and my own personal visual language.” IN CONVERSATION WITH ALICIA HABER THE PICTORIAL LIST: Hello Alicia...welcome to The List! Tell us, where do you find your inspiration? ALICIA HABER: I find inspiration in the city, basically in Montevideo and also in cities in Brazil, where I travel quite often. I am a very urban person. I am not attracted to landscapes, flowers, and nature in general. People in their daily life interest me a lot. I am not in search of a realistic depiction of the world. My photos, in general, concentrate on reflections, blurs produced by camera movement or slow speed and movement of the subject, silhouettes. In general, though, I do not want total abstraction. I let the image or images to be seen, to stay in the picture, even if they are blurred or duplicated. TPL: Where is your favourite place to photograph? AH: In the city, in the streets, in places related to urban life. TPL: Do you feel that you have grown in your photography since you started almost 3 years ago? Has your style of photographing changed? AH: Yes, it has changed. My photography is a work in progress. I keep studying, now by myself, learning about new ways of expressions, trying to find new challenges and finding new approaches. TPL: Tell us more about your involvement in the artistic world before photography? AH: I am an Art Historian and curator. I have taught Art History, wrote books on famous Uruguayan artists, curated hundreds of exhibitions of Uruguayan artists both in Uruguay and abroad (Brazil, Argentina, New York, Los Angeles, Germany, Venice Biennale, Sao Paulo Biennale, among others), have presented papers on Uruguayan art in several conferences of Art Historians and Art Critics in Great Britain, the United States, Germany, Sweden, and many other countries. I am not in search of a realistic depiction of the world. TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? AH: Be audacious. Be curious. Open your mind. Reject the obvious. Look at Contemporary art. Visit museum or virtual museum. Watch very good films with very good photography. Learn from the photography masters. Keep visiting sites where you can look for different types of photography, particularly the ones that break stereotypes. Establish dialogues with other colleagues. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AH: Good equipment is necessary. It does not have to be an expensive one. You can always upgrade it later. It is important to know how to use it. Then, the real important thing is to look at the world around you and find ways to depict it in your own way. Ex nihilo nihil. So, look at what other photographers, particularly masters, have done. And learn from them. Do not copy them. Be inspired by them. Look for your own style. Look for your own voice. TPL: Do you have any favourite artists or photographers you would like to share with us? AH: Saul Leiter, William Klein. And many, many others. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AH: During the lockdown and quarantine period we are now living, I have to stay at home, and keep photographing. It is a new challenge. I have to solve the problems alone. I photograph outside my window at night, in the evening, and inside my apartment. My intention is always to problematize the regard and challenge common concepts of what is real. So, also at home I work with camera movement or the movement of the model. Fortunately, a Brazilian friend is staying with me during the quarantine, and she is so nice that she lets me photograph her. I am trying to convey different moods produced by confinement, also everyday life during Covid-19, inside and outside the apartment and what is going on with the neighbours. TPL: "If I wasn't photographing what would I be doing?... AH: Now my great passion is photography, so I cannot imagine anything else." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. 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.