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

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

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

Talking to photographers from around the world, offering an insight into their photographic journey to inspire us all. 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. INTERVIEW THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. 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. INTERVIEW GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. INTERVIEW WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. INTERVIEW WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. INTERVIEW ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. INTERVIEW THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. INTERVIEW 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. INTERVIEW FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition.

SOCIOLOGY OF EVERYDAY LIFE Capturing the sociology of everyday life, searching for human faces and emotion, brings Neslihan Uslu closer to photojournalism. SOCIOLOGY OF EVERYDAY LIFE March 11, 2021 INTERVIEW PHOTOGRAPHY Neslihan Uslu INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photography has the ability to capture and communicate stories in a way that no other medium can. For Neslihan Uslu, a Turkish-born photographer living in Antwerp, Belgium, photography is a way of life. Combining her studies in sociology and photography, her artistic practice is about uncovering the everyday stories of our lives. To her, the nuances of everyday life are the most powerful and beautiful stories that can be told. Neslihan's passion for documentary photography began three years ago when she moved to Antwerp. In her desire to learn more about this new city, she saw photography as the best way to do this. Every week she would focus on a different topic, seeking out the hidden stories that were hidden away in the streets of Antwerp. Her images are a reflection of her passion for looking at both the ordinary and extraordinary through a photographer’s eye. She looks for emotional moments and captures them in an honest and cinematic style, creating a visual dialogue of the beauty of everyday life. Neslihan Uslu's work is a powerful blend of fine art and photojournalism. It is a tribute to her dedication to capturing the subtle stories of our lives and the emotion that lies within them. Her work gives us a glimpse into hidden moments that many of us would never have the opportunity to witness. Through her lens, we can experience the intimate beauty of the everyday and appreciate the unique stories of our lives. “In my opinion, sociology is bold, but photography is even bolder. What I want to express with my photos is to convey events, social problems, situations, sometimes everyday life and routines as much as possible, to show real lives and feelings. I also want to do this by keeping the story plain and simple, without trying to transform or reproduce reality. Photography is already reproducing its reality through the eye of the photographer.” IN CONVERSATION WITH NESLIHAN USLU THE PICTORIAL LIST: Neslihan please tell us about yourself. How did you become interested in photography? NESLIHAN USLU: I was born and raised in Istanbul. I have been living in Antwerp for about 3 years. I've been the photographer of the family since I was young. But it was more about taking snapshots and recording everything. I started photography training in AFSAD (Ankara Photography Artists Association) the year I decided to study Sociology at the university in 2000. I feel like I’m still at home while developing photos in the dark room. During my 4-year university education, photography training and projects continued simultaneously. During this period, I also had the opportunity to participate in group exhibitions. My focus on documentary photography was continued with my thesis. This was the breaking point for me. While I was writing my thesis on "Othering and Labeling in Modern Era: Romani people living in Turkey”, I met many people, took many pictures and I had the opportunity to learn a lot about photography. That's why Josef Koudelka's Gypsies project is always very special to me. TPL: Tell us more about the series of images from Chinatown that you have shared with us. Could you elaborate a bit on your thoughts on the concept and how you manifested your ideas into a documentary project? NU: Actually, this short study is one of the first steps of my work on the “cultural importance of festivals and their perception in different cultures” that I want to do in the long run. Festivals are an impressive way to celebrate culture and traditions. At the same time, we come together with our loved ones and share happiness. It is important for cultural solidarity. In addition to this, it can evoke different emotions in different cultures. What I wanted to show was the difference and similarity of the emotions it aroused in people from different cultures through the Chinese New Year celebration. To put it better, it was the cultural perception of this celebration. Before the celebrations, I went to Chinatown many times and observed. That gave me the information about the photos I will be taking: where I should stand, from what point of view I will see. I don’t think I can easily tell a story that I don’t have an idea about, whether it is a documentary or a photojournalism. TPL: Sometimes you combine your Sociology into your Photography. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? NU: In my opinion, sociology is bold, but photography is even bolder. What I want to express with my photos is to convey events, social problems, situations, sometimes everyday life and routines as much as possible, to show real lives and feelings. I also want to do this by keeping the story plain and simple, without trying to transform or reproduce reality. Photography is already reproducing its reality through the eye of the photographer. When I think of myself as a viewer, the photographs that awaken a feeling in me, make me ask myself questions and think critically feed me. I want them to inspire similar feelings in those who look at my photos as well. I believe that the more we present to the world, the greater steps we take for change and development. That's why Lewis Wickes Hine, the photographer and sociologist who documents child labor, is one of my idols. Hine's images of working children helped change the nation's labor laws. Through his photography, Lewis Hine made a difference in the lives of American workers and, most importantly, American children. I'm trying to include the connection between the sense of place and people in my photographs. I think this allows me to tell my photo stories more powerfully. TPL: Where do you find your inspiration to photograph? NU: I find my inspiration in history. Everything that has witnessed history means a lot to me. Maybe that's why I love to chat with old people and listen to them, to go around antique markets and second-hand bookstores. TPL: Do you have a favourite place to photograph? NU: Everywhere that I can find documentary photos and stories. To be honest, I think the events and the connections you establish make the difference, not places. Nevertheless, the historical streets in İstanbul that start from Istiklal Street and end in Galata Tower are always a journey to my heart and my childhood. I also like to go to the old passages and shoot in low light conditions there. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NU: There are many photographers and artists. Master photographers always inspire me, teach me to see and narrate. Dorothea Lange, Vivian Maier, Bieke Depoorter, Semiha Es, Ansel Adams, Sebastião Salgado, Alec Soth, Ara Güler, İzzet Keribar, Martin Parr, Josef Koudelka, Emin Özmen, Alex Webb…Their works play a big role in making me who I am. Cinema and my favorite directors also make me look at photography differently. I learn how to use tones, whether in monochrome or in color, and how to take dramatic photographs through cinema. I think it is necessary to keep the intense and fertile relationship between cinema and photography in order to do a good job in photography. Jean-Luc Godard expressed "Photography is truth. And cinema is truth 24 frames a second." I absolutely agree with this. At the same time, the magical world of cinema contributes to my imagination in every way. Vittorio De Sica, Lars Von Trier, Ken Loach, Nuri Bilge Ceylan have a special place in my heart. And all of my photographer friends who live in different places of the world. We also have a photography group called Antwerp Photo Collective in Antwerp and I am inspired by all of them. I find it historically and sociologically important to convey culture from generation to generation. Being able to explain a cultural structure that I know makes me feel both excited and responsible. We're losing so many memories and I want to keep them alive. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? NU: In an interview, Ken Loach says, “You have to find a story you have to tell. It should be a story that you must tell, not a story which might have been a good one when you tell.” I'm trying to do this with my camera. It takes me into photography, pushes me to research and 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? NU: I currently have equipment that I love very much. I use Fujifilm X-T3. I want to have a medium format camera in the long run. I take most of my photos with 35mm f/1.4 lens and 50mm f/1.8 lens. However, sometimes I need different equipment and lenses, depending on the style of the photo I want to shoot. 35mm prime lens is always my favorite. It is a wide angle lens and it helps me have a more accurate perspective. It's enough to capture powerful images. I also have zoom lenses but I rarely use them. I like my camera being small and quiet but I always have to carry a spare battery. I do my analog shots with Nikon F80 and Leica Z2X, even though less often. I'm a fan of cinestill film. 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? NU: I often let the images come to me when I go out shooting. Maybe I will encounter something new that I do not know or I will see something I am familiar with, from a different perspective. I keep a sort of photo diary. Sometimes I just give myself homework about a specific theme. I am trying to create a photo series about the theme. For example, from the people who are reading at the café to the street lamps, from the women dressed in green to the bins, from the joy of victory to the someone who seems unhappy, there can be a variety of subjects and emotions. Also, even when I have a concept in my mind and shoot about that, the results I see are different from what I plan. Sometimes this makes me happier, sometimes it causes me to throw everything away and rework the same concept. It helps me to realize long and extensive projects. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? NU: I want to reach more people with my photos. I'm building my website (www.neslihanuslu.com ) and it will be accessible in February. I would like to publish my project that I am working on and dedicate it to my parents. I would like to present my 2nd draft project to a publishing house in Belgium and work on it in collaboration. I have a long way to go, and I love this feeling. Some things will change along the way and this will influence my approach to photography. TPL: You mentioned that you are currently working on a documentary project 'Crimean Tatar Villages.' Could you tell us about it. NU: I find it historically and sociologically important to convey culture from generation to generation. Being able to explain a cultural structure that I know makes me feel both excited and responsible. We're losing so many memories and I want to keep them alive. I am a Crimean Tatar from my father's side. My grandfather settled by migration to Turkey after a difficult period. My father was born and grew up in Eskipolatlı, a typical Tatar village in Ankara. Crimean Tatar is spoken among themselves. This group has a unique culture and lifestyle. This is what I was born in. I listened to the stories and witnessed this culture. I will especially focus on the food culture and domestic life. I will do photo shoots and interviews in Eskipolatlı village in order to maintain the cultural heritage and introduce this culture to future generations. Due to Covid-19, I couldn’t travel to Turkey and I couldn’t make the shots that I had planned last spring. For the moment I continue to do interviews. If everything goes well, I aim to complete my project within a year. Unfortunately, while I was writing my thesis, I could not reach the references that I wanted and I think I know the difficulty and the meaning of this. For this reason, I want it to be a small contribution for those who are interested in the subject. TPL: When I am not out photographing, I (like to)… NU: Watch movies, spend time with my family and friends, cycle, do handicrafts and travel. VIEW NESLIHAN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition.

I try to document the little moments of beauty that exist in the spaces in-between us all. I'm self taught and learn through experiencing the streets, the energy, the characters and allow the moment and the camera to work together. Photography is not just an art, but life to me. LUCAS JOHN I try to document the little moments of beauty that exist in the spaces in-between us all. I'm self taught and learn through experiencing the streets, the energy, the characters and allow the moment and the camera to work together. Photography is not just an art, but life to me. LOCATION UNITED KINGDOM CAMERA/S Fujifilm XE-3, Ricoh GR II @LUCASJOHN_PHOTOGRAPHY FEATURES // Moments of Beauty

NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by illustrator Fran R. Learte and creative director Natalia Molinos. Their work combines an impressive range of digital elements and abstract patterns which they create in order to elaborate pieces of art with a deeply aesthetic feeling. NASTPLAS NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by illustrator Fran R. Learte and creative director Natalia Molinos. Their work combines an impressive range of digital elements and abstract patterns which they create in order to elaborate pieces of art with a deeply aesthetic feeling. LOCATION Madrid SPAIN CAMERA/S Canon, Polaroid WEBSITE https://www.nastplas.com/ @NASTPLAS_SNAPSHOT @NASTPLAS FEATURES // Conceptual Reality

I was born in Parma, Italy, where I completed my studies in the humanities and communication fields. I approached digital photography in my thirties, fascinated by the magical power of this artistic medium that is unique in fixing a moment and making it eternal. Time is the focus of my photographic research, the nostalgic time of the past from which to resurrect ancient buildings today in decay, and the time of the future, projected into minimal visions of modern architecture with futuristic forms and abstract colors. Forms, lines, space. Fundamental even in its negative meaning of empty space. In addition to time in space, color. Another key word in my works is colour, not as an adjective or declination of other subjects, but, a subject itself, a feeling and a photographic alphabet. Photography is a mirror of one's inner world; an aesthetic beauty of rules and exceptions. GABRIELE GENTILE I was born in Parma, Italy, where I completed my studies in the humanities and communication fields. I approached digital photography in my thirties, fascinated by the magical power of this artistic medium that is unique in fixing a moment and making it eternal. Time is the focus of my photographic research, the nostalgic time of the past from which to resurrect ancient buildings today in decay, and the time of the future, projected into minimal visions of modern architecture with futuristic forms and abstract colors. Forms, lines, space. Fundamental even in its negative meaning of empty space. In addition to time in space, color. Another key word in my works is colour, not as an adjective or declination of other subjects, but, a subject itself, a feeling and a photographic alphabet. Photography is a mirror of one's inner world; an aesthetic beauty of rules and exceptions. LOCATION Parma ITALY CAMERA/S Fujifilm XT3 WEBSITE http://www.vetroviola.it @VETROVIOLA FEATURES // De-sidera

A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. A VOYAGE OF DISCOVERY March 16, 2025 INTERVIEW PHOTOGRAPHY Fanja Hubers INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the subtle interplay of light and shadow, Fanja Hubers’s approach to photography unfolds from a foundation of personal experience, introspection, and the act of observation. Inspired by her father’s use of the camera, Fanja’s journey began in 1982 with her first camera, a Konica Pop, a camera that became an extension of her daily life. Since then, she has maintained an unwavering commitment to carrying a camera wherever she goes, capturing the moments that connect her inner world with the external environment. Her work is not only a documentation of what she sees but a continuous exploration of how personal history, memory, and emotion intersect with visual storytelling. In A Voyage of Discovery, Fanja shifts her focus inward, using photography to explore a time of vulnerability and a deep, personal reimagining of her creative process. This project serves as a meditation on identity, questioning what it means to be both a photographer and a human being. Influenced by Indian photographer Raghubir Singh’s belief that photography reflects both the inner and outer worlds, Fanja seeks to bridge these dimensions through her images. The result is a body of work that does not merely record the visible but seeks to reveal the unseen — emotional states, fleeting thoughts, and the deeper layers of human experience. Beyond this project, Fanja’s broader portfolio includes Empty Faces, One Moment in Time, People as They Are, Rediscover the First Moment of Seeing, and The Simple Beauty of Nature. Each series represents an extension of her visual inquiry, whether through candid street scenes, studies of human presence, or explorations of momentary ephemeral beauty. Her approach remains consistent in its attention to atmosphere and the emotions embedded within the act of seeing. Her work has gained recognition in international exhibitions, including the Women Street Photographers Annual Exhibition in New York (2024), the Rome Art Expo (2023), and Photography in the Visual Culture in Palermo (2023). She has also been published in Quadro Magazine, Mina Art Magazine, and other photography journals, further establishing her presence in contemporary photographic conversation and visual culture. This interview examines the foundations of Fanja’s artistic development, her evolving relationship with photography, and the ways in which her images serve as both documentation and personal reflection. Through this conversation, we explore how she constructs meaning through visual language, how her experiences shape her perspective, and what continues to drive her pursuit of capturing life through her camera. “I started capturing and recording events, especially on weekends and summers on our boat. Over time, I learned more about the technical aspects and bought my first DSLR camera during my student years. I increasingly photographed street scenes, everyday life, and funny moments. In recent years, I have come to see photography more as an art form to express emotions.” IN CONVERSATION WITH FANJA HUBERS THE PICTORIAL LIST: Your father’s influence played a role in your early interest in photography. Are there any specific lessons or philosophies he passed down that you still carry in your work today? FANJA: Besides the fact that he also used to shoot in black and white and had a certain calmness in his compositions, it was mainly the technical aspect that stood out. When I passed my final exams, he took me to Paris. Because of his fear of heights, he didn’t dare go to the top of the Eiffel Tower. On the first floor, he explained how his camera (a DSLR) worked, and I was allowed to go to the top alone to take photos. From that moment on, I wanted a camera that I could set entirely manually. TPL: How has growing up in Utrecht, the Netherlands, shaped your visual perspective and artistic approach? FANJA: Utrecht is a beautiful city full of life. But in other cities, I felt more anonymous, and I sought that out more often—until recent years. After visiting many other cities, I have come to appreciate Utrecht even more. TPL: You emphasize carrying a camera with you at all times — is there ever a moment where you feel capturing an image would interfere with truly experiencing it? FANJA: I noticed that during my first trip to India. I had to be careful not to experience the entire journey through my viewfinder. That’s when I decided to occasionally put my camera away so I could fully experience the trip. And I know you always have to pay attention to that. TPL: Your project ‘A Voyage of Discovery’ is deeply personal, exploring vulnerability and self-reinvention. What inspired this particular shift inward, and how did the creative process evolve throughout the project? FANJA: In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. I wanted to express this in a creative way because I was increasingly discovering that photography is not just a way to document life but also an art form to express emotions. I was (and still am) quite insecure about this, but with the feedback of an inspiring photographer, I gradually gained the confidence to share more of my work. Since I started photographing with more emotion, I have also gained recognition for my work. TPL: Do you see your photography as an act of storytelling, or is it more about capturing fleeting emotions and moments in time? FANJA: Both. Photography has become more of an art form and a passion. But I must not forget to capture memories, such as my son growing up. For me, the essence of photography is still about capturing moments so that later, you can relive memories when looking back. In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. TPL: Your work captures the subtleties of human presence. Do you feel that photography has changed the way you see people in everyday life? FANJA: People don’t change, but how you see them might. This is also strongly dependent on how I feel that day. TPL: Raghubir Singh’s philosophy on photography bridging inner and outer worlds is a key inspiration for you. What other artists inspire you and your photography and why? FANJA: Valerie Jardin — I really love the romance in her photos. Elliot Erwitt—for his humorous images. But also, Anton Corbijn, when it comes to capturing emotions. TPL: How does seeing your photography in print — whether in exhibitions, magazines, or books — change your relationship with the images compared to viewing them digitally? And what are your thoughts on the role of printed media in an increasingly digital world? FANJA: I think both are important. Digitally sharing is a good way to eventually end up in an exhibition or a book. And that is ultimately more valuable than the fleeting nature of the online world. But social media also allows me to meet others from around the world, from whom I can learn and gain inspiration. TPL: As you look to the future, how do you see your photography evolving? Are there particular themes, techniques, or approaches you are eager to explore? What are your aspirations for your photography, and where do you hope to see yourself creatively in the next 3–5 years? FANJA: I would like to further develop the series ‘A Voyage of Discovery,’ and ultimately, it is a dream of mine to have a solo exhibition in my own country, so that friends and family can visit it as well. I hope I can continue like this and that I will retain my passion for photography. TPL: What would we find in your camera bag? Is there anything on your WishList? FANJA: I have no camera bag, just one camera, the Fuji x100vi, around my neck. For a backup camera, family shoots and video I have a Fuji S10 with some interchangeable lenses. But for 99% I use the Fuji X100vi. TPL: “When I am not out photographing, I (like to)… FANJA: ...Enjoy life with family and friends, my work as an educator, and play the piano.” VIEW FANJA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. 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