I began to approach photography in 2007, during my studies at the Accademia di Belle Arti in Catania, Sicily. It is at this time that I created my first photo reportage, Festivals in Sicily, which has become known on a national level. This long-term project tells of the religious festivals of my hometown, Gela. The photo La Presa della Bandierina ("The Conquest of the Banner") is exhibited at the Museum of Contemporary Art (MACRO) in Rome. In 2012, I focused on the themes of sexuality and gender. I met personalities from the drag king scene and entered their world. In 2013, I photographed the American artist and drag queen M. Jenkinson and the Italian drag king group 'Genderotica Eyes Wild Drag'. One of my photos is added by the authors of the photographic, historical and critical archive 'Il Re Nudo'. Also in 2013, the reportage El Hombre de las Cuevas was published in the Italian magazine 'La Repubblica Online'. From 2013 to 2014, I also dedicated myself to discovering the world of trans people in Andalusia with the project Nosotres - Lives beyond Binarism, spending five months capturing the world and everyday life of trans people in Granada. This was published by the Italian magazine 'L'Espresso' as a photo reportage. In the same year, the project was exhibited as a multimedia installation with the original interviews at the Art Factory Fair and was awarded by the Italian gallery jury in the Young Artist category. The project was also exhibited at Art Market Budapest - International Contemporary Art Fair in October 2014. Since 2015 I have been living in Germany in the Frankfurt area. I am planning to open my own photo studio and dedicate my time to new projects. AGATA LO MONACO I began to approach photography in 2007, during my studies at the Accademia di Belle Arti in Catania, Sicily. It is at this time that I created my first photo reportage, Festivals in Sicily, which has become known on a national level. This long-term project tells of the religious festivals of my hometown, Gela. The photo La Presa della Bandierina ("The Conquest of the Banner") is exhibited at the Museum of Contemporary Art (MACRO) in Rome. In 2012, I focused on the themes of sexuality and gender. I met personalities from the drag king scene and entered their world. In 2013, I photographed the American artist and drag queen M. Jenkinson and the Italian drag king group 'Genderotica Eyes Wild Drag'. One of my photos is added by the authors of the photographic, historical and critical archive 'Il Re Nudo'. Also in 2013, the reportage El Hombre de las Cuevas was published in the Italian magazine 'La Repubblica Online'. From 2013 to 2014, I also dedicated myself to discovering the world of trans people in Andalusia with the project Nosotres - Lives beyond Binarism, spending five months capturing the world and everyday life of trans people in Granada. This was published by the Italian magazine 'L'Espresso' as a photo reportage. In the same year, the project was exhibited as a multimedia installation with the original interviews at the Art Factory Fair and was awarded by the Italian gallery jury in the Young Artist category. The project was also exhibited at Art Market Budapest - International Contemporary Art Fair in October 2014. Since 2015 I have been living in Germany in the Frankfurt area. I am planning to open my own photo studio and dedicate my time to new projects. LOCATION ITALY CAMERA/S Canon EOS 5D Mark IV WEBSITE http://www.agatalomonaco.com @AGATA.LO.MONACO FEATURES // Festivals In Sicily Lives Beyond Binarism

I am a photographer based in Athens, Greece. I am currently studying at the Athens School of Fine Arts, on Master of Digital Arts. I have a Bachelor's degree in Photography and Audiovisual Arts, from the University of West Attica, as well as a Bachelor's degree in Classical Guitar Studies. In my work I mainly deal with self-portraits, narrative photography and video art. Through my images I attempt an inner search around the self-image, and I try to set questions about the relationship between photography and reality, the interpretation of the image, but also the human need to immortalise the visible. I am concerned with issues of identity and roles. I explore the relationship between the photographer and the subject, and consequently of the artist and their model, and I study how they influence each other, something that is of particular interest in self-portraits. I also study the way in which the human body can function as a symbolic element in art. In my work I follow a kind of ritual, mainly in terms of research and the choices I make. This includes the semiology, the identity that I will choose to present, the means that I will use, but also what I will choose to present to the viewer. I like to create artistic hybrids, by blending techniques from different artistic fields. I try to relate knowledge and practices from my various interests, creating a dialogue between different fields. I combine influences from photography, painting, cinema, sculpture, literature and even music. NICOLE TSATSOU I am a photographer based in Athens, Greece. I am currently studying at the Athens School of Fine Arts, on Master of Digital Arts. I have a Bachelor's degree in Photography and Audiovisual Arts, from the University of West Attica, as well as a Bachelor's degree in Classical Guitar Studies. In my work I mainly deal with self-portraits, narrative photography and video art. Through my images I attempt an inner search around the self-image, and I try to set questions about the relationship between photography and reality, the interpretation of the image, but also the human need to immortalise the visible. I am concerned with issues of identity and roles. I explore the relationship between the photographer and the subject, and consequently of the artist and their model, and I study how they influence each other, something that is of particular interest in self-portraits. I also study the way in which the human body can function as a symbolic element in art. In my work I follow a kind of ritual, mainly in terms of research and the choices I make. This includes the semiology, the identity that I will choose to present, the means that I will use, but also what I will choose to present to the viewer. I like to create artistic hybrids, by blending techniques from different artistic fields. I try to relate knowledge and practices from my various interests, creating a dialogue between different fields. I combine influences from photography, painting, cinema, sculpture, literature and even music. LOCATION Athens GREECE CAMERA/S Sony a7 WEBSITE http://www.nicoletsatsou.com/ @NICOLE_TSATSOU FEATURES // Inner Truths

PICTORIAL STORY CASABLANCA NOW November 20, 2020 PICTORIAL STORY Photography and story by Melita Maria Vangelatou Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Melita Vangelatou has loved photography since childhood; in school she was the class photographer. Born and raised in Alexandria in Greece, she has lived and travelled in several different countries. She studied psychology and later photography. Her photographic work has been exhibited in her home country Greece and in Morocco, and she has published her work in several books. Her latest book, Casablanca , was published for the exhibition of the same name at the Benaki Museum of Islamic Art in Athens. In Casablanca, Melita belongs to the association Casamemoire, which was created to safeguard Casablanca’s heritage. In a photographic project to document the city's architecture with UNESCO World Heritage Site status, Melita tried to include pictures of people in the architectural photos as much as possible, gaining praise from the UNESCO committee for it. For The Pictorial List, Melita shared her story about Casablanca's people and their customs during the COVID-19 pandemic. We call her story Casablanca Now , because, although the customs she describes are timeless, the photos with people wearing masks contextualise Melita's story into the present year. I feel privileged and enriched by the experience of living in different countries even though there is always an emotional price to pay. We now live in Morocco, which is the country I have lived longer in and feel a close affinity to. Casablanca, where I live, is a modern, cosmopolitan city. It is Morocco’s largest city and its second biggest port. It has wide avenues and high-rise buildings. Casablanca's growth from a village to an international metropolis in the beginning of the twentieth century could not have happened without the influx of villagers who came to work as labourers and builders. These people conglomerated in shantytowns and working-class districts, where they lived in accordance with the same traditions they had in the villages they came from. I am interested in their way of life and try to capture their customs. I find it very captivating to see Moroccans wear their traditional dress, ‘djellaba’ and shoes, ‘babouch’, something that has been lost in most Western countries. Even though the djellaba is worn on an everyday basis in the working class districts, any dress code is accepted. In one of my photographs a young girl wearing a djellaba is conversing with her bestie wearing a bikini. In these areas people shop from outdoor bazaars, which are busy and noisy places with multiple smells and aromas emanating from the spices and finger food sold in abundance. The street sellers drag their wares in huge bundles or on carts to display them on the pavement. Apart from food, everything else is sold in these bazaars, clothes, toys and kitchen wares. Mothers have their children with them all the time. They have nowhere to leave the children, babysitters are non-existent, and the grandmothers stay behind in the villages where the family came from. The children know they have no alternative, so they are very obedient and well behaved around their parents. There are two flamboyant personages that are an integral part of these areas, the water seller, ‘Guerrab’, and the performers, ‘Gnawa’. In big crowds the suppliers of water, Guerrab, stand out because of their traditional bright red clothing and Berber wide brimmed hat with colourful pom poms. They have shallow brass cups strapped to their chest and a goatskin water bag dangling from their waist. They tend their cup to passersby inducing them to buy water. During the Pandemic nobody dares buy water to drink from communal cups. The Guerrab now still tend their cups, empty this time, supplicating for some coins from passersby. Everyone responds willingly to their begging, as they understand their plight. The Gnawa wear hats covered with cowrie shells ending in a long tassel, that they sway back and forth as they dance to the rhythm of their ‘krakebs’ (a kind of castanet). The Berbers brought the Gnawa as slaves from Sub-Saharan Africa. Slavery was abolished in 1923, and the Gnawa were converted to Islam, but they still continue their spiritual dances of possession and are practising healing rituals mixed with animistic rites. During the Covid-19 pandemic there are no festivities where the Gnawa can perform, so they play their castanets in the streets just to beg for donations. Their deeply hypnotic trance music has won international appeal and has influenced many Western musicians. The ‘Casaoui’, which are the inhabitants of Casablanca are very proud of the Atlantic, which they consider “their” ocean. They find a spot with a view and spend hours just looking at the sea. The spot they prefer is near the island of the saint Sidi Abderrahman. According to Moroccan popular belief, Sidi Abderrahman heals possessed individuals and helps women bear offspring and find a husband. The sanctuary, with its green pyramidal roof is the largest building on the island off the coast of Ain Diab and is surrounded by whitewashed houses inhabited by fortune-tellers. The whole place was closed during lockdown and now people are slowly starting to visit it again even if only to pay their respects to the saint. Moroccans value their private lives, which they protect from outsiders. Their traditional houses have no balconies or windows towards the street, and the only light and air they get is from their internal courtyards onto which all rooms open. On the beach they cover their umbrellas with sheets and towels to keep indiscreet eyes away. Camels are brought from the desert, where they are used for transport, to offer fun rides on the beach. As there are low and high tides and currents, very few people swim. Instead, they enjoy activities in the sand, like these camel and donkey rides. Children enjoy snacks and favours on the beach so there are many ambulant sellers both on the sand and on the Corniche, which is the promenade that runs along the coast of Casablanca. Traditional Moroccan women do not swim at all. They go to the beach dressed in their djellaba wearing a headscarf and often a baseball hat on top to keep the sun away. They go as far in as the wet sand to refresh themselves and watch over their children. Some choose to spend the day under their umbrellas chatting or sipping mint tea, Morocco’s traditional drink, with friends and family. In the areas where I photographed, the houses are small, so life takes place on the streets. With the pandemic, when the beaches opened, everyone swarmed there. Whole families, but mostly women and children, spend their days on the beach. Since the pandemic, this was where all the activity took place, so it was my preferred area too and I took most of my photos in this series on the beach. © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou My project Casablanca is an ongoing project and will only end when I leave the city for good. There is always something to learn and something new to photograph, there is a lot of information to gather and there are many photos to take. view Melita's portfolio Read an interview with Melita >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

My first strong influences that sparked my interest in capturing street life go back to the work of Henri Cartier-Bresson and German photojournalist Thomas Hoepker. For me, a good street picture must have some thought-provoking note beyond being merely decorative, some humorous or quirky details, some kind of storyline: telling an unstaged, candid story from the big theater of life. Humour in pictures is what I like best. I like pictures that pose questions rather than provide answers. Most of my photos are taken candidly; nothing is staged or manipulated. I like chasing for the offbeat, on a quest to find some extravaganza in the ordinary, some fun element, some beautifully layered scene. Any interesting scene that hits my eye. I try to stay as invisible as possible. Finding something special in the ordinary that might only exist for a split second before it’s gone forever. The two old grannies I captured in 1991 in San Gimignano, Italy, one with the Hanimex 110 pocket camera: a time document today. As all the millions of smartphones today will be at some point in the future. I would characterise myself as a classical flaneur – though sometimes more of a long-distance runner – with a camera. Ready to take action in an instant, react to any kind of scene that strikes my fancy and unfolds in front of my camera. And that’s what I love so much about this subject: you don’t need any clumsy gear, you don’t have to travel anywhere, you're always there! That’s why it is so magical for me, many have said this before: It’s positively an obsession! My photos have been featured in periodicals and on various digital platforms and hubs and have also received awards in international street photo festivals and competitions. THOMAS HACKENBERG My first strong influences that sparked my interest in capturing street life go back to the work of Henri Cartier-Bresson and German photojournalist Thomas Hoepker. For me, a good street picture must have some thought-provoking note beyond being merely decorative, some humorous or quirky details, some kind of storyline: telling an unstaged, candid story from the big theater of life. Humour in pictures is what I like best. I like pictures that pose questions rather than provide answers. Most of my photos are taken candidly; nothing is staged or manipulated. I like chasing for the offbeat, on a quest to find some extravaganza in the ordinary, some fun element, some beautifully layered scene. Any interesting scene that hits my eye. I try to stay as invisible as possible. Finding something special in the ordinary that might only exist for a split second before it’s gone forever. The two old grannies I captured in 1991 in San Gimignano, Italy, one with the Hanimex 110 pocket camera: a time document today. As all the millions of smartphones today will be at some point in the future. I would characterise myself as a classical flaneur – though sometimes more of a long-distance runner – with a camera. Ready to take action in an instant, react to any kind of scene that strikes my fancy and unfolds in front of my camera. And that’s what I love so much about this subject: you don’t need any clumsy gear, you don’t have to travel anywhere, you're always there! That’s why it is so magical for me, many have said this before: It’s positively an obsession! My photos have been featured in periodicals and on various digital platforms and hubs and have also received awards in international street photo festivals and competitions. LOCATION Braunschweig GERMANY CAMERA/S Sony A7 MkIII WEBSITE https://hackenberg.info/ @THOMAS_HACKENBERG_PHOTO FEATURES // Theatre of Life

In my work I investigate the contrasting sensations of life, of love/lovelessness, of common walking and in a more candid way, of the workers' struggle covered with those glimpses of modernity sometimes fictitious and other times not obtained. The street was my school to a great extent and photography was a logical consequence to express myself from my memories, what I observed, what I lived and what I learned through people, history, books and poetry books. "Sijifredo", is a work of visual storytelling that rescues one of the most striking aspects of my Father (the title of the work carries his second name), which was to build parallels between episodes of his history with what he saw in a current moment of his life. This visual journey, through its color atmospheres, explores the human desire to have the possibility of staying one more day with that loved one who has died, but who has left a deep mark in terms of values and spirituality, without selfishness and without any emotional debt at the time of his departure. JANO SANDOVAL In my work I investigate the contrasting sensations of life, of love/lovelessness, of common walking and in a more candid way, of the workers' struggle covered with those glimpses of modernity sometimes fictitious and other times not obtained. The street was my school to a great extent and photography was a logical consequence to express myself from my memories, what I observed, what I lived and what I learned through people, history, books and poetry books. "Sijifredo", is a work of visual storytelling that rescues one of the most striking aspects of my Father (the title of the work carries his second name), which was to build parallels between episodes of his history with what he saw in a current moment of his life. This visual journey, through its color atmospheres, explores the human desire to have the possibility of staying one more day with that loved one who has died, but who has left a deep mark in terms of values and spirituality, without selfishness and without any emotional debt at the time of his departure. LOCATION CHILE CAMERA/S Canon EOS 700D WEBSITE http://www.janosandoval.com @JANOSANDOVAL.PHOTOGRAPHY FEATURES // Sijifredo

PICTORIAL STORY DON'T WITHER AWAY In his latest project, Vinh Tran steps into a Hanoi nursing home, searching for more than just images. He captures the lives of its residents as he reflects on his own anxieties about purpose, aging, and what it means to grow old with dreams still burning. This story isn’t just about the elderly — it’s about all of us, and the questions we’re often too afraid to ask. August 13, 2021 PICTORIAL STORY photography VINH TRAN story VINH TRAN introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The sound of a camera's shutter, the buzz of an old-fashioned film camera and the whisper of the wind. All of these sounds made Vinh Tran, a documentary and street photographer based in Vietnam, feel alive. He is a man who speaks through his lens, expressing himself through his art and everyday practice of photography. Vinh has this unique outlook on life and his passion for photography has become his language, allowing him to communicate his ideas and perspectives with others. He is never seen without his camera, always capturing moments that others may easily overlook. Through his photographs, he aims to tell stories that are often left untold. In April 2021, Vinh embarked on a project that was close to his heart. He visited a nursing home in Hanoi, searching for answers to his imaginary fears - the fear of living a life without any objectives. This project became a way for him to explore his inner thoughts and feelings, as he was determined to answer the questions that were lingering in the back of his mind. What is it like living in a nursing home? Would it be ok to live in a nursing home when you are a person with countless objectives and expectations? For most of my existence, I have been fighting with my parents to achieve freedom for myself. The priceless space that offers me the right to make my own decisions in any circumstances, to freely follow my dreams, and to live as a young man with countless ambitions independently. Asian parents are well-known for being invariably overprotective of their children, which triggered my curiosity about what it is like to be a child raised by non-Asian parents. Is it necessarily true that Western parents are more liberal as they seemingly give the decisions and feelings of their children more consideration? Back in April 2017, when I had a conversation with a Canadian friend and his mother, I asked a question that had always been deeply hidden in my memory related to my curiosity of the Parent-Child relationship in Western society: "Would you move to an elderly care center or live with your son when you are old?" She held her son's hand and said: "Of course I would live with my son. Therefore M, please don't leave me alone when I'm old, honey." I felt shocked and, at the same time, immensely emotional by her answer. It fractured my bright imaginary perception of aging in Western countries. This series of images was taken in a nursing home in Hanoi throughout April 2021. I talked to the elders here, listened to them, sympathized with them, and witnessed different emotional nuances from numerous stories. My approach illustrates the imaginary fear of loneliness at old age, the feeling of pointlessness and emptiness. The definition of time becomes vague. Life turning upside down in a loop of boredom as there are no more objectives and expectations. © Vinh Tran © Vinh Tran B. Former pharmacist. "I hope my grandchildren are qualified to enter higher education. I hope they will succeed, so life will be much easier for their kids. There are no differences between my life five years ago and my life now; at the time my husband passed away, so I had to live alone. I don't have any expectations of life anymore." © Vinh Tran © Vinh Tran © Vinh Tran © Vinh Tran © Vinh Tran © Vinh Tran "I have to go outside tomorrow; I will go home." V suffers from dementia and is almost unable to converse naturally. He sleeps very little and always looks out the windows saying that it is time to go home. © Vinh Tran © Vinh Tran © Vinh Tran © Vinh Tran Clothing tag. This ID Tag helps keep track of valuable clothes and belongings in order to reduce the risk of loss. © Vinh Tran © Vinh Tran KP. Poet. “Five years ago, I worked without a day off. I wrote a ton. I studied everywhere I had been to. I did not even have time for sorrow. But now I am all depressed. I am down in the dumps because I cannot go to the pagoda. It does not make sense to me - as a poet; living in a nursing home means that I am blind to what is happening out there. I wish I could keep exploring so I can complete unfinished poems as soon as possible. I want to go to China; I want to see The Great Wall.” © Vinh Tran Two poems that KP had written during Lunar New Year 2021. © Vinh Tran Vinh Tran's project allowed him to discover the answers that he was seeking. He brought light to a place that is often forgotten and through his photographs he was able to communicate his ideas and perspectives with others. This project was more than just a reflection of his inner thoughts; it was a reminder of how powerful photography can be in bringing attention to the issues that are left unseen. view Vinh's portfolio Read an interview with Vinh >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

PICTORIAL STORY CITY AS METAPHOR Richard Koenig’s diptychs offer a compelling glimpse into the passage of time — pairing past and present through the evolving perspective of a photographer shaped by change, just like the places he returns to. July 22, 2022 PICTORIAL STORY photography RICHARD KOENIG story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Richard Koenig is a photographer and professor at Kalamazoo college in Michigan. He began his artistic journey in his hometown of Bloomington, Indiana and the first photography courses Richard enrolled in were at Indiana University. There he learned how to use 35mm and 4x5 large format cameras. Richard was immersed in the modernism of Edward Weston and Ansel Adams. Forms of light and shadow, beautifully depicted in a perfect grayscale on large negatives inspired Richard’s work in photography. When he moved to Brooklyn, New York in the early 1980’s, and transferred to Pratt Institute where he received his BFA, Richard was thrown into the postmodern influences that saturated the art scene in the early 1980’s. Richard describes his assimilation. “I had been liberated from the hinterlands, injected, as it were, into a milieu that couldn’t be more different than southern Indiana. New York, a world city, was culturally and socially rich, ethnically diverse, visually stimulating, and more than anything else, steeped in history. I loved that I lived in the borough of Brooklyn in particular, which had its own cachet.” Richard’s studies at Pratt changed the way he processed his photography. He adopted a 35mm camera again, emulating his instructors at that time, Phil Perkis and Arthur Freed. Richards defines this approach for us. “I switched back to working with a small camera and began to emulate their looser approach. This meant eschewing previsualization and shooting unconsciously, more akin to taking a quick glance at something rather than staring it down.” Little did Richard know at the time that his explorations in his neighborhood while studying at Pratt would resurface again forty years later, providing the inspiration for Richard’s project, City as Metaphor . Richard elaborates on his project and shares his inspiration with us. “The pandemic of 2020 provided time for retrospection—as well as for the scanning of old negatives. This led to my current project, City as Metaphor , which has me, once again, walking the streets of the city, mostly Brooklyn. With this project I revisit locales in New York City (primarily Brooklyn), where I made photographs several decades ago. A contemporary, high-resolution image is then made, framed to mimic the prior photograph. The updated view is then combined with the vintage analog work to form a straightforward diptych à la Mark Klett’s Rephotographic Survey Project of the late seventies. The goal of this undertaking is to allow the viewer to study how visible things may have changed over a relatively long period of time - the most notable being, perhaps, an explosion of trees and foliage. But while the image-duos describe this and other changes based on physical appearances, it is hoped that a reflection of a deeper sort may be elicited. One may ponder what has transpired generally since the vintage views were made - the nature of the photography itself is a receipt for a far-reaching digital revolution still unfolding. Beyond image and information technology, though, lurk other truly impactful events, some of which can be discerned from the images, while others cannot. The circumstance for having created the vintage images is arbitrary, but not insignificant. While not as dramatic as the shift in social, political, and cultural moves that occurred in the late sixties, the 1980’s mark the beginning of a shift toward a new gilded age in the United States. Citing the oft-stated fable of frogs slowly being cooked alive, we tend not to notice incremental change, even when dangerous or possibly fatal in nature. It is hoped that the simple tactic of using time-comparison photographs will work to jar the viewer.” Originally Richard started photographing his project with a Nikkormat, most often with a 24mm lens. Richard now uses a Nikon D850 with 24 to 70 2.8 zoom Nikkor zoom lens. Richard scans the b/w and color negatives of the vintage images, and makes little prints for use in the field, to find the angle and such, and then he reshoots with the D850. Richard tries to match the light and exact surroundings when he can and tries to match the time of year as well. Richard has developed this unique process that adds to the complexities of his diptychs. Richard has found different influences and inspiration throughout the years, exploring different formats and embracing new ideologies in photography—from large format photography, printing on fiber-based papers, to the digital world and engaging Photoshop and printing on archival inkjet papers. The change in photography from film to digital was his catalyst for exploration in new mediums and formats along the way, giving Richard a diversity in his techniques and the tools to create a dynamic range in his works. The photos below are a compilation of his photographic journey through the years. Have a close look to understand his photographic inspiration. Richard received his MFA from Indiana University, coming around full circle from where his journey in photography began. His philosophies about photography changed as his influences and the dynamics of photography of that time changed. Often looking at different photographers and developing a connection to their work, with the transference in critical and creative thinking, Richard found new ways of expression through his photography. As Professor of Art and Art History at Kalamazoo College, Richard now engages the young minds of the next generation of creative thinkers, inspiring them to explore the universe with open eyes, and open minds. '511 Myrtle' © Richard Koenig '527 Myrtle' © Richard Koenig '245 Dekalb' © Richard Koenig 'Wash At Lincoln' © Richard Koenig '2 Willoughby' © Richard Koenig '503 Myrtle' © Richard Koenig '500 Myrtle' © Richard Koenig '263 Waverly' © Richard Koenig '485 Myrtle' © Richard Koenig '65 Willoughby' © Richard Koenig '555 Myrtle' © Richard Koenig '519 Myrtle' © Richard Koenig 'Park Vanderbilt' © Richard Koenig 'Myrtle Classon' © Richard Koenig We thank Richard for sharing his project that spans over a forty year period. City as Metaphor is a unique look into the past through the eyes of a photographer that has changed as life has changed, much like the places in his diptychs. They are as much a reflection of the urban landscape over time, as it is a self-portrait in many ways showing a photographer's journey over time in much the same way. And if you have the opportunity to take his class, please do and learn from one of the best. view Richard's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

Voices of the Nile is a project aiming at raising awareness on the vital importance of the Nile ecosystem by the photographer duo Bastien Massa and Arthur Larie. The two have been doing joint photo projects for many years. Working photo journalistically, they have been traveling through Ethiopia, where they spent four months at the source of the Blue Nile to do a series about Ethiopians and their relation with water. VOICES OF THE NILE Voices of the Nile is a project aiming at raising awareness on the vital importance of the Nile ecosystem by the photographer duo Bastien Massa and Arthur Larie. The two have been doing joint photo projects for many years. Working photo journalistically, they have been traveling through Ethiopia, where they spent four months at the source of the Blue Nile to do a series about Ethiopians and their relation with water. LOCATION Marseille FRANCE CAMERA/S Lumix G-90 WEBSITE http://www.lesvoixdunil.com/ @LESVOIXDUNIL FEATURES // Voices of the Nile

Ever since I remember myself I loved photography. In school I was the class photographer. Later on my subjects were my family and the countries where I lived or travelled to. I have a Masters Degree in psychology and I later studied photography. My Aesthetics of Photography professor, Laura Dodson @lauradodsonphoto, always professed, ‘don’t photograph babies, pretty young girls or sunsets, as these subjects are beautiful in themselves and you don’t need to make any effort or put any thought into capturing them. Also, Laura encouraged me to exhibit during my studies and I never stopped since. I usually make a book to complement my exhibition. From the eight books that I have published, three were published for special events and the rest accompanied my exhibitions. My last book, ‘Casablanca’, was published for the exhibition of the same name at Benaki Museum of Islamic Art in Athens. I contributed my photos for the book ‘Quartier Réservé’ or ‘Red light District’ under the direction of Jean-Francois Stazsak and Raphaël Pieroni, which was done for an exhibition scheduled for April 2019 in Casablanca and later in Geneva but was postponed indefinitely because of the pandemic. In Casablanca I belong to an association called Casamemoire, which was created to safeguard of Casablanca’s heritage. In 2015 I photographed Casablanca as our goal was to include Casablanca’s twentieth century architecture among the World Heritage Sites. I also photographed the interior of the buildings, which gave me the opportunity to talk to people, to get acquainted with their everyday lives and understand the reasons why they effected changes in the buildings. This experience was beneficial in helping me overcome my apprehension and shyness when asking people on the street if I could take a picture of them. I am a people photographer and I tried to include pictures of people in the architectural photos as much as possible, which was what the UNESCO committee really liked. A couple of years ago I started posting pictures on Instagram. I enjoy it but find it involves much more effort than I expected, and leaves little time for my other photographic activities. I am grateful to Sean Tucker who through his YouTube channel, helped me put Instagram into perspective. MELITA VANGELATOU Ever since I remember myself I loved photography. In school I was the class photographer. Later on my subjects were my family and the countries where I lived or travelled to. I have a Masters Degree in psychology and I later studied photography. My Aesthetics of Photography professor, Laura Dodson @lauradodsonphoto, always professed, ‘don’t photograph babies, pretty young girls or sunsets, as these subjects are beautiful in themselves and you don’t need to make any effort or put any thought into capturing them. Also, Laura encouraged me to exhibit during my studies and I never stopped since. I usually make a book to complement my exhibition. From the eight books that I have published, three were published for special events and the rest accompanied my exhibitions. My last book, ‘Casablanca’, was published for the exhibition of the same name at Benaki Museum of Islamic Art in Athens. I contributed my photos for the book ‘Quartier Réservé’ or ‘Red light District’ under the direction of Jean-Francois Stazsak and Raphaël Pieroni, which was done for an exhibition scheduled for April 2019 in Casablanca and later in Geneva but was postponed indefinitely because of the pandemic. In Casablanca I belong to an association called Casamemoire, which was created to safeguard of Casablanca’s heritage. In 2015 I photographed Casablanca as our goal was to include Casablanca’s twentieth century architecture among the World Heritage Sites. I also photographed the interior of the buildings, which gave me the opportunity to talk to people, to get acquainted with their everyday lives and understand the reasons why they effected changes in the buildings. This experience was beneficial in helping me overcome my apprehension and shyness when asking people on the street if I could take a picture of them. I am a people photographer and I tried to include pictures of people in the architectural photos as much as possible, which was what the UNESCO committee really liked. A couple of years ago I started posting pictures on Instagram. I enjoy it but find it involves much more effort than I expected, and leaves little time for my other photographic activities. I am grateful to Sean Tucker who through his YouTube channel, helped me put Instagram into perspective. LOCATION GREECE CAMERA/S Leica @MELITAVANGELATOS FEATURES // Casablanca Now Telling Stories

AN OBSERVED REALISM Inspired by her local relaxed beach lifestyle in Australia, Melanie Meggs' photographs combine an observed realism with a touch of quirkiness. AN OBSERVED REALISM March 5, 2020 INTERVIEW PHOTOGRAPHY Melanie Meggs INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link As people, we are often defined by our experiences – some good, some bad – that shape who we are and how we interact with the world around us. For one Australian visual artist, her near-death experience was the light that shone a new path in her life, leading her to explore photography as a creative outlet and a way to escape from reality. Melanie Meggs is an artist and visionary photographer, whose work speaks to the depths of the human experience. With a background in Fine Arts and years of field experience, Melanie has a unique talent for creating scenarios through strangers on the streets, exploring the intersections of reality and fiction. Her photography is often satirical humorous and serves as a psychological representation of her escape from the everyday. The creative mind behind The Pictorial List, Melanie's artistry runs deep and her thought-provoking works give viewers a rare insight into her world. Through her lens, she invites us to join her on a journey of exploration, allowing us to take a glimpse of the reality she has created for herself. Her works are captivating, mysterious and simply beautiful. Melanie's story is inspiring and her works serve as a reminder that art can be used to explore and express the depths of our inner lives. Join us as we go behind the lens with Melanie Meggs to discover how photography changed her life. You'll miss the best things if you keep your eyes shut. - Dr. Seuss “From a young age, I have been completely mesmerized by people and their complex interactions in different scenarios. I intently observe and analyse their behavior and social relationships, as I find it incredibly fascinating.” IN CONVERSATION WITH MELANIE MEGGS THE PICTORIAL LIST: Melanie, when did you start getting interested in photography? MELANIE MEGGS: As far back as I can remember, I have always had a passion for photography. It all started when I was a young child and I would snap pictures of everything around me with my trusty camera. When I began studying art, I was overjoyed to receive my first SLR camera - a secondhand Nikon FE. I still have that camera to this day and it holds a special place in my heart. While I was initially more interested in the theoretical side of photography, I loved the experience of working in the darkroom and seeing my images come to life before my eyes. Although it's been many years since then, those memories remain vivid and exciting. A few years ago, my life was almost taken away from me by Sepsis (Streptococcal Toxic Shock Syndrome), but I used that experience to change my perspective on life. I was very lucky to have survived. I began to appreciate life in a new light, taking a camera out with me on my daily rehab walks to keep me company. Through my viewfinder, I was able to escape the reality of my illness and everyday life. Even today, photography remains a place of solace for me. TPL: Where do you find your inspiration? MM: I derive my inspiration from my passion for painting. Though I can no longer paint with the same skill as before, I have discovered a way to incorporate my love for painting into my photography. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MM: I have forever been inspired by artists such as Jeffrey Smart, Edward Hopper and David Hockney. The way they created these precisionist depicted scenes of urban landscapes that were full of playful allusions appealed to me very early on in my life. I recently have found inspiration in the conceptual photographic works of Ben Thomas and Maria Svarbova. TPL: Has your style of photographing changed since you first started? MM: Certainly, my approach to photography has evolved over time, and I anticipate that it will continue to evolve as I gain new insights and knowledge. TPL: Where is your favourite place to photograph? MM: I really enjoy taking photos at the beach these days. People there seem more carefree and happy, which makes for great photos. I recently visited Japan, and it was a photographer's dream come true. There were endless opportunities for amazing shots, and the people there were wonderful. I'm already planning to go back again in the future. I also love experimenting with different techniques in art galleries and museums. It's a fun way to challenge myself and create something unique. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you think equipment is important in achieving your vision in your photography? What is your current camera and why did you choose it? Is there anything on your wishlist? MM: I would love to have a camera with weather-sealed medium format or full frame capabilities to successfully achieve my photography objectives. This feature is crucial to my work, as I often capture images in sandy or wet surroundings, and it is essential to the quality of my work. Additionally, I aspire to produce enormous prints in the future, and having a camera with more megapixels will help me achieve this goal. I currently use the Olympus OMD EM II and mostly use my prime lenses 17mm (35mm equiv) and 85mm (170mm equiv). I have a deep affection for my Olympus camera. Its 5-point stabilization, lightweight design, and ability to produce stunning colors makes me hesitant to invest in a new camera at the moment. On my wishlist, emphasis on WISH!...a Leica or a Hasselblad...I shall just keep dreaming at the moment though. TPL: Have you ever been involved in the artistic world before photography? MM: I have a diverse background in the arts, having studied Fine Arts with a focus on art history, painting, and printmaking. Additionally, I studied music and can play the tenor horn, trumpet, and tuba. From 2012, I co-owned a homewares, florist store, and gallery with my close friend, where we showcased the work of talented Australian artisans. Our store also featured our own handmade timber furniture and homeware designs. Sadly in 2018, we had to close the store due to my illness. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MM: The Pictorial List!...A worldwide online community photography platform that delves into the intricacies and splendor of all types of photography. We have numerous exciting concepts in the works and can't wait to share them with you! TPL: “When I am not out photographing, I (like to)… MM: Something creative! Enjoying life on sunny days.” A combination of observed realism and a touch of quirkiness abounds in Melanie's photographs. Join Melanie on Instagram for a glimpse into her life as she pursues her passion for photography. VIEW MEL'S PORTFOLIO Mel's Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

MILANO ROMANCE Through his photography, Marco Riccardo Flores brings a romantic and stylish view from his beautiful home, the metropolis of Milan. MILANO ROMANCE July 8, 2020 INTERVIEW PHOTOGRAPHY Marco Riccardo Flores INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The hustle and bustle of the vibrant metropolis of Milan is captured in all its beauty, romance and style by photographer Marco Riccardo Flores. From the daily lives of people to the unique landscapes and artists that inhabit the city, Marco captures it all. Through his lens, you can feel the energy of the city, feel connected to its spirit and explore its many wonders. A visit to Milan is made all the more special through the eyes of this talented photographer and with each image, Marco transports us to a place far away from our own realities. Come and let Marco take you on a journey within the city of Milan. “I am a painter that uses the camera instead of the brushes. I just can’t draw what my mind creates. My visions come and go away too quickly. Only the camera can somehow fix my imagination.” IN CONVERSATION WITH MARCO RICCARDO FLORES TPL: Marco, when did you start getting interested in photography? MRF: Maybe when I was a child, about 12 yrs old. During school trips I have always taken with me a little camera, an analog one. TPL: Who are your favourite artists? MRF: I don’t know. I like beautiful photography, whoever the artist is. For the portraits I think Bob Krieger. I like old style fashion photography. Vivian Maier is an artist I'm interested in quite recently. Reportage photography and wildlife photography are also my favorites sources of inspiration. TPL: Has your style of photographing changed since you first started? MRF: Yes, it is still changing every day. I like to experiment, even if this means to make some mistakes. TPL: Where is your favourite place to photograph? MRF: Hiding among the crowd...'spying' on people. 😉 TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? MRF: It is important to have the right equipment at the right moment. Starting with something simple and easy to use can help you improve faster. You should try new gear only when you understand that you are missing something useful. I like to experiment, even if this means to make some mistakes. TPL: Have you ever been involved in the arts before photography? MRF: I’ve been in the show biz for a season now, following musicians and dreaming their lives. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MRF: I’m working on a project about buskers performing around Milan. I started this work last year but the Corona virus outbreak has stopped me. I hope to resume my work as soon as possible. TPL: "If I wasn't photographing what would I (like to) be doing?... MRF: Riding fast and expensive bikes." Marco Riccardo Flores is a photographer who has spent countless hours capturing the beauty of Milan. His photographs portray a romantic and stylish view of the city, with its people, landscapes and artists. If you are looking to experience the magnificent city of Milan, Marco’s work is a great place to start. Connect with Marco to learn more about his work and make a plan to experience Milan through his stunning photography. VIEW MARCO'S PORTFOLIO read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

Image making is what I live for. I create both in visual images and words. My creative process is a process that has evolved out of failure. That is to say, a failure to neatly fit into any specific genres that I have tried out. When I am fortunate, images and words complement each other. They exist together as one complete expression. Embracing chance leads to happy accidents. Repetition leads to style and then boredom. Boredom leads to experimentation. The process begins as clumsy missteps and moves into something akin to dance. I call myself a backward painter. Unlearning grammar. Skirting the edges. Curiosity as currency and camera as paint brush. My works explore the areas of the mind that tend to get lost in the everyday rational thought. They represent the gaps between thoughts and words. Those areas that don’t easily translate into proper grammar. It has been through unlearning the rules that I have been able to find a medium to communicate. I emerge in the middle of my story. LEANNE STAPLES Image making is what I live for. I create both in visual images and words. My creative process is a process that has evolved out of failure. That is to say, a failure to neatly fit into any specific genres that I have tried out. When I am fortunate, images and words complement each other. They exist together as one complete expression. Embracing chance leads to happy accidents. Repetition leads to style and then boredom. Boredom leads to experimentation. The process begins as clumsy missteps and moves into something akin to dance. I call myself a backward painter. Unlearning grammar. Skirting the edges. Curiosity as currency and camera as paint brush. My works explore the areas of the mind that tend to get lost in the everyday rational thought. They represent the gaps between thoughts and words. Those areas that don’t easily translate into proper grammar. It has been through unlearning the rules that I have been able to find a medium to communicate. I emerge in the middle of my story. LOCATION New York UNITED STATES CAMERA/S Fuji X100 V, Fuji X Pro 3, Nikon FE 2, Polaroid 600 WEBSITE https://www.shootnewyorkcity.com/ @SHOOTNEWYORKCITY @LEANNEMSTAPLES FEATURES // Shoot New York City