I am a visual storyteller and media expert based in between Greece and Germany. Since 2006, I have worked independently and with organisations in over 30 countries in Africa, Asia, Europe, the MENA region, and Central America. I specialise in documentary photography and film production with a focus on social and environmental topics. My portfolio features partnerships with institutions such as the European Commission ECHO, agencies such Euronews as well as leading organizations like WWF and Medecins Sans Frontieres. My projects have received recognition at international awards, festivals, and exhibitions. In 2016, I co-founded the production house Mind The Bump where I work as a documentary director and producer. In 2018, I joined BULB Photos/Balkan Collective as an International Fellow Honoris Causa. In 2021, I founded @WomenPhotoGR the first online community in Greece dedicated to promoting equal participation of female, non-binary and LGBTQIA+ individuals in photography. VICKY MARKOLEFA I am a visual storyteller and media expert based in between Greece and Germany. Since 2006, I have worked independently and with organisations in over 30 countries in Africa, Asia, Europe, the MENA region, and Central America. I specialise in documentary photography and film production with a focus on social and environmental topics. My portfolio features partnerships with institutions such as the European Commission ECHO, agencies such Euronews as well as leading organizations like WWF and Medecins Sans Frontieres. My projects have received recognition at international awards, festivals, and exhibitions. In 2016, I co-founded the production house Mind The Bump where I work as a documentary director and producer. In 2018, I joined BULB Photos/Balkan Collective as an International Fellow Honoris Causa. In 2021, I founded @WomenPhotoGR the first online community in Greece dedicated to promoting equal participation of female, non-binary and LGBTQIA+ individuals in photography. LOCATION Athens GREECE CAMERA/S Fujifilm XT-3, XT-4, XH-1, DJI OSMO, DJI PHANTOM 4 PRO WEBSITE http://www.vickymarkolefa.net @VICKYMARKOLEFA FEATURES // Life In Between

PICTORIAL STORY IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. August 31, 2025 PICTORIAL STORY PHOTOGRAPHY Paola Ferrarotti STORY Paola Ferrarotti INTRODUCTION Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In In Between Life and After , Paola Ferrarotti turns her attention to one of Cairo’s most complex urban spaces, where history, housing, and survival converge. The City of the Dead is a vast necropolis in continuous use since the 7th century, a place of mausoleums, shrines, and family tombs that over time has also become a neighborhood. Today, thousands of families live among its courtyards and domes, shaping lives alongside the memory of the dead. Paola approaches this project with a background that informs both the rigor and empathy of her work. Born in Argentina and now based in Germany, she is trained in Political Science, International Relations, Linguistics, and Literature. Her photography practice is grounded in documenting real stories, bringing into focus the lives of those often overlooked. Previous projects have taken her from Germany’s protest movements to the struggles of Afghan women, from reflections on water to explorations of identity and belonging. What unites her work is a commitment to the human story within larger social and political contexts. In eastern Cairo, at the foot of the Mokattam Hills, this perspective leads her to spend time with a family living inside a mausoleum, where children talk about school, animals are kept in courtyards, and stories of the past are shared over tea. Rather than presenting the City of the Dead as spectacle or metaphor, Paola allows the ordinariness of daily life to speak for itself. Her images and writing invite us to look closer at how heritage and survival coexist, and how dignity persists even in precarious conditions. A Day Inside a Mausoleum I spent several hours with a family of five—parents, grandmother, and two children—who live inside a mausoleum. They welcomed me warmly with tea and stories. They showed me their animals: chickens, ducks, doves, a rabbit, and two dogs. The mother pulled out photos of her teenage daughter’s birthday party, speaking with the same maternal tenderness one finds anywhere in the world. Here, daily life unfolds as in any neighborhood. The children talk about school and football practice. The grandmother tells stories of the past. They laughed, shared concerns, and argued over small matters—the same rhythms you find in ordinary homes. Even amid precarious conditions, there is resilience, humor, and dignity. Between Necessity and Belonging Originally, families moved into tombs out of economic necessity, religious duties, or family tradition. Over the decades, these temporary arrangements became permanent. Many of the families residing in mausoleums are not descendants of those buried there. Instead, they reach an arrangement with the deceased’s relatives, agreeing to care for the tomb in exchange for the right to live in the space. Cairo faces a severe housing crisis, with soaring rents, overcrowded informal settlements, and limited access to public housing. For many families, the City of the Dead is not a choice born of preference or tradition, but a practical solution to survive. The mausoleums provide space, relative privacy, and a roof over their heads—making what is meant to be a resting place for the dead a home for the living. Residents also maintain traditions linked to family graves that are still visited by living relatives, who come to mourn and place flowers. The family I visited told me about these visits as they showed me, in the courtyard of their mausoleum, the area where a man and his wife were buried — bodies wrapped in shrouds, as is Muslim custom. The couple lies in a small subterranean chamber, accessible by a narrow staircase in the family’s courtyard, later sealed with cement because of the odors. Although I did not see the tombs directly, the family explained the arrangement, showing how the presence of the dead quietly coexists with daily life. Today, estimates suggest that tens of thousands, possibly up to half a million people, live here. For them, this is home—a place where ancestors’ presence merges with the routines of the living. The Life That Persists Life here is not without challenges: limited public services, informal housing, and an urban environment often stigmatized or overlooked. Many residents prefer not to be photographed, underscoring the need for sensitivity and informed consent in documenting the area. Yet, the City of the Dead also reveals resourcefulness, resilience, and solidarity. Courtyards become classrooms, rooftops shelter pigeons, and rooms transform into workshops. Daily life asserts itself among the tombs with dignity. Beyond the dramatic name — City of the Dead — what I found was life: fragile, ordinary, profoundly human. Heritage Under Threat Today, the necropolis faces an uncertain future. Bulldozers have already razed sections of the cemetery to make way for highways and overpasses linking Cairo to the new administrative capital in the desert, 35 kilometers away. Some of the demolished tombs dated back to the Mamluk era (13th–15th centuries) and were the resting places of scholars, cultural figures, and members of Egypt’s royal families. According to UNESCO, parts of Historic Cairo — a World Heritage Site that includes the City of the Dead — remain at risk despite official assurances that monuments will be preserved. Egyptian officials frame the demolitions as part of modernization and infrastructure development, but conservationists and urban historians warn that many mausoleums are not formally registered as antiquities, leaving them vulnerable. In May 2022, the tomb of Taha Hussein, one of Egypt’s most influential writers, was marked with a red cross and the word “demolition,” triggering public concern. Although the authorities officially denied plans to destroy it, nearby construction of an elevated bridge affected the mausoleum’s structure, partially covering it with concrete. Activists continue to document damage, photographing collapsed facades, shattered gravestones, and fragments of Arabic calligraphy scattered in the rubble. The destruction is not only architectural but social. Families who have lived here for generations are being relocated to distant neighborhoods, severing the community bonds that sustain them. For many residents, the City of the Dead is home, and these interventions risk erasing not only heritage but also daily life and communal memory. Looking Closer This work does not seek to romanticize hardship or dramatize loss. It is an invitation to look more closely. The City of the Dead is both a place of mourning and of survival, where heritage and humanity meet in fragile balance. Between crumbling stone and the sound of children’s laughter, life persists—ordinary and dignified. Methodology and Ethics The photographs were made with informed consent and prior dialogue with the family. Care was taken not to record personal names or precise locations that could expose residents to stigmatization or external pressures. This essay is informed by both direct experience and academic and journalistic sources that situate the work within its historical and urban context. © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti In Between Life and After shows us the City of the Dead not as an abstraction but as a lived reality. Families create homes among mausoleums, children grow up where ancestors are buried, and everyday routines continue against a backdrop of history and uncertainty. Paola Ferrarotti’s account is shaped by attention and care, allowing the ordinariness of these lives to emerge without sensationalism. Her story reminds us that what is under threat is more than architecture. The demolition of tombs and relocation of families risks erasing both cultural heritage and the bonds of community that have held for generations. Yet even within this fragility, life endures — resilient and deeply human. In inviting us to look closer, Paola affirms that the City of the Dead is also a city of the living, and that both deserve to be remembered. Bibliography: Amin. S, (2023), Egypt is killing the history of its City of the Dead , Atlantic Council. Associated Press, (2023), New highways carve into Cairo’s City of the Dead . Butler. S, (2025), Living among the graves: Cairo’s City of the Dead faces an uncertain future , Geographical Magazine. El Kadi. G, (2007), Cairo’s medieval necropolis: Architecture for the dead . [Publisher]. Society of Architectural Historians, (2023), Statement on cultural heritage losses in Cairo . UNESCO, (2023), Historic Cairo , UNESCO World Heritage Centre. view Paola Ferrarotti's portfolio 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. read more stories >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. 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.

PICTORIAL STORY LAND, LABOR AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. April 12, 2026 PICTORIAL STORY PHOTOGRAPHY Rajesh Dhar STORY Rajesh Dhar INTRODUCTION Karen Ghostlaw SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Photography has long served as a powerful way to examine the relationship between people, land, and livelihood. In regions where agriculture shapes both culture and economy, the landscape itself becomes a living archive of tradition, labor, and survival. With patience and careful observation, photographers can reveal the stories embedded within these environments, offering viewers insight into the systems that sustain communities and the natural resources that shape daily life. For photographer Rajesh Dhar, visual storytelling is deeply connected to the social and cultural fabric of India. A graduate of the prestigious Government College of Art and Craft in Kolkata with a Bachelor of Visual Arts, Rajesh works professionally as a graphic designer while maintaining a passionate commitment to photography. His artistic practice often explores the vibrancy of India’s cultural and religious diversity, with particular attention to rural festivals and the emotional energy that emerges from communal celebration. At the same time, his work reflects a thoughtful awareness of the complexities within society, seeking to reveal both its virtues and its challenges through compelling visual narratives. In this ongoing photographic project, Rajesh turns his attention to the agricultural landscapes of West Bengal, where jute cultivation has long played an essential role in both environmental sustainability and economic livelihood. Often referred to as the ‘golden fibre,’ jute has supported generations of farmers, laborers, and artisans while offering an environmentally responsible alternative to synthetic materials. Working within the fields themselves, Rajesh documents more than a material or an industry. His photographs reveal the process of cultivation, the relationship between land, labor, and the broader network of communities sustained by this remarkable natural resource. The jute fields become a place where environmental responsibility, cultural heritage, and economic livelihood intersect. At a time when global conversations increasingly focus on sustainability and ecological balance, Rajesh’s work invites viewers to look closely at a material that has quietly supported both environment and economy for generations. By turning his attention toward the origins of this fiber, he offers a visual reflection on how traditional practices can continue to shape a more sustainable future. In India, the plastic recycling rate is around 60%. The remaining 40% of plastic waste remains uncollected and often ends up littering the environment, causing clogged drains and pollution of land and water systems. Jute, in contrast, is a 100% recyclable natural material. Transitioning to alternative sustainable materials can help mitigate the carbon intensity associated with plastic production and its impact on climate change. In this regard, the use of jute for packaging plays an important role from a sustainability perspective due to its renewable nature, biodegradability, low carbon footprint, and positive impact on soil health. Jute is often referred to as the ‘golden fiber’ because of its natural color and environmentally friendly qualities. As a natural fiber that is fully biodegradable and renewable, it provides a sustainable alternative to synthetic materials. Its cultivation contributes to environmental health by helping reduce carbon dioxide levels in the atmosphere. One hectare of jute plantation can absorb up to 15 tons of carbon dioxide and release around 11 tons of oxygen during a growing season of about 100 days, offering benefits for already polluted environments. Jute plants also support soil conservation by preventing erosion and improving soil fertility through their deep-rooted system. In recent years there has been renewed global interest in jute as a sustainable alternative to synthetic materials. It is now used across various industries, including textiles, packaging, construction, and even the automotive sector. Traditionally, jute has been an integral part of the textile industry, widely used for making sacks, bags, and ropes because of its strength and durability. Its fibrous structure also makes it suitable for producing carpets, mats, and other home furnishings. The jute industry is one of the prominent industries in India. From cultivation and harvesting to processing, manufacturing, and exporting, the industry creates employment at multiple stages of the value chain. It provides direct employment to around 3.70 lakh workers and supports the livelihoods of approximately 40 lakh farm families. Farmers, factory workers, artisans, traders, and other associated personnel all depend on this sector. Jute and jute products also contribute significantly to India’s export earnings, with the country remaining one of the largest exporters of jute and jute goods in the world. Because of its versatility and environmental benefits, jute remains a valuable natural resource with the potential to contribute to a more sustainable future. By promoting the use of jute products, individuals and industries can support environmentally responsible practices while creating sustainable economic opportunities for the communities involved in its cultivation and production. © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar © Rajesh Dhar Rajesh Dhar’s photographs bring attention to a subject that is both deeply local and globally relevant. By focusing on the cultivation of jute in the fields of West Bengal, he highlights a material whose history is closely tied to the lives and livelihoods of the communities who grow and process it. His work draws attention to the people and landscapes that sustain this remarkable fiber, reminding us that environmental conversations often begin in the places where land and labor meet. Rajesh’s photography has received both national and international recognition, earning awards in competitions including the Mela Moments Photo Contest organized by the Ministry of Culture, Government of India, Indian Sports Photography Award, the Mangrove Photography Awards, the Fokus International Photo Awards in Albania, and the My Indian Link Photo Contest in Australia. His work has also been recognized through major publications and contests such as The Hindu’s Frame Your Festive Stories and The Times of India’s My City My Click. As this ongoing project continues to grow, Rajesh’s photographs offer an important visual record of a landscape, an industry, and a tradition that continues to shape the lives of millions. view Rajesh's portfolio website >>> 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. read more stories >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. 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.

My photographs are a process of understanding parts of my life that have been defined by living or existing in different places, isolating feelings and experiences that do not necessarily need to be attached to a particular place or location. Creating compositions of every day things and the study of the human life through my images has allowed me to discover an emotion or thought that has connected my past to the present. Through my images I am fusing my worlds together, subconsciously connecting fragments of time. JO KALINOWSKI My photographs are a process of understanding parts of my life that have been defined by living or existing in different places, isolating feelings and experiences that do not necessarily need to be attached to a particular place or location. Creating compositions of every day things and the study of the human life through my images has allowed me to discover an emotion or thought that has connected my past to the present. Through my images I am fusing my worlds together, subconsciously connecting fragments of time. LOCATION Victoria AUSTRALIA CAMERA/S Canon 6D WEBSITE http://www.jokalinowski.com @JOKALINOWSKI_ FEATURES // Debutante The Study of Life

NEW NORMAL The principal motivation behind Adesh Gaur's images are the focus on humanist issues combined with his strong visual storytelling. NEW NORMAL November 30, 2020 INTERVIEW PHOTOGRAPHY Adesh Gaur INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photography is a visual art form that captures moments and emotions, freezing them in time and space. It is an incredibly powerful medium to tell stories and evoke emotions. Now, more than ever, we have a desire to look at the world and the people around us differently. Enter Adesh Gaur, an award-winning photographer based in Uttar Pradesh, India. Adesh has developed a passion for photography since 2018, turning it into his full-time career. His focus lies on telling humanist stories while delivering powerful visual storytelling through documentary and fine art photography. His images capture the nuances of life and its complexities, as seen through his lens. Adesh's objective is to capture moments in time, highlighting the beauty and poignancy of everyday life. Through his photographs he wants to portray a powerful narrative about the places and people he encounters on his journey. To him, photography isn't just about taking pictures but also about capturing stories and emotions that will hopefully evoke empathy and understanding in viewers. “As we all know, the whole world is struggling with Coronavirus. It’s very difficult to live in a middle-class family. In this collection, I want to state and show you how the middle-class people live and work, despite all their troubles. Because of Coronavirus, these laborers had to go back to their own homes. I documented this series in Kanpur Cement Warehouse, in India, post Lockdown.” IN CONVERSATION WITH ADESH GAUR THE PICTORIAL LIST: Adesh, where do you find your inspiration to photograph? ADESH GAUR: I am inspired by many and everywhere. TPL: Is there anything you want to express through your photography? AG: As we all know there's a story behind every picture and I love to share stories through my lens. The places attract me much where a good story can be made and sometimes I love to take portraits of those people whose eyes have a different shine from others. TPL: Do you prefer to photograph alone or with friends? AG: I shoot most often with friends, sometimes it's good if you are a beginner to learn from others. But I also love to shoot alone so I can focus. TPL: Who are your favourite artists and photographers? AG: Steve McCurry, Alan Schaller, Daniel Milnor, Raghu Rai and Raghubir Singh. Photography, to me, is the dewdrop that reflects my inner and outer worlds simultaneously. - Raghubir Singh TPL: Where is your favourite place to photograph? AG: Everywhere I can get a good documentary photo. TPL: How does the equipment you use help you in achieving your vision in your photography? AG: It's all about observation, but camera also matters. I love to shoot with my Canon camera. When I shoot portraits I love to use prime lenses and for wide shots I use 18-55mm lenses. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AG: Yes it is about migrants labour. But because of the Coronavirus I haven't been able to get out of the house for the six months, but as soon as things return to normal, I'll get back and get better stories. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AG: My goal is to become a photojournalist. In the coming five years I see myself as a better photographer who will be moving forward with many achievements. TPL: “When I am not out photographing, I (like to)… AG: Read, watch documentaries and travel.” The principal motivation behind Adesh Gaur's images are the focus on humanist issues combined with his strong visual storytelling. Follow his connections he makes in his community by following his journey on Instagram. VIEW ADESH'S PORTFOLIO Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. OPPORTUNITIES April 18, 2024 INTERVIEW INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The Pictorial List is excited to announce a new partnership with the International Photography Awards, merging our resources and expertise to provide an even more comprehensive platform for our communities. By joining forces, we aim to empower photographers with a wealth of options, information, and tools, enabling them to forge meaningful connections within the industry. This collaboration seeks to enhance the exploration and advancement of photography, ultimately amplifying the impact and contributions of photographers around the world. Together, we look forward to cultivating an environment that fosters creativity, skill development, and networking opportunities for photographers at every stage of their careers. We would like to share with you the founder of IPA, Hossein Farmani, and his remarkable contribution to photography. Hossein Farmani is an incredibly dynamic figure in the world of art and photography. As a creative director, gallerist, and exhibition curator, he has left an indelible mark on the industry. His influence extends beyond New York, where he founded and presides over the prestigious Lucie Awards, International Photography Awards, International Design Awards, Paris Photo Prize, London Creative Awards, Focus on AIDS, and Farmani Gallery. Hossein's dedication to photography has driven him to every corner of the globe, where he has curated more than 200 photographic exhibitions. For the past two decades, he has been sharing his wealth of knowledge and passion by lecturing at various universities and colleges. His expertise has also earned him a place among the esteemed juries of events such as Photo Lucida, Photofest, Arles Photo Festival, Yangong Photo Festival, and numerous others. Most notably, he has co-founded the Palm Springs Photo Festival, Snap Orlando, Month of Photography Los Angeles, and the Istanbul Photo Festival. Alongside these achievements, he has enlightened audiences at prestigious platforms like TEDx Chiang Mai and TEDx Bologna, where he shared his profound passion for both photography and design. Hossein's impact is not confined to the art world. His commitment to social and environmental causes has seen him lecture in over 25 cities globally, using the power of photography and design to shed light on critical issues. His personal collection of contemporary and vintage photography stands as a testament to his deep connection with the art form, making him a guiding light in the photography world. Initially, the International Photography Awards (IPA) embarked on its journey in a world before the widespread use of the internet or email. The organization relied heavily on traditional advertising methods, predominantly featuring in magazines. Entrants would send in their submissions via mail, accompanied by checks or cash, adding a touch of old-world charm to the process. Despite initial skepticism about the IPA's potential success in a crowded landscape of competitions, a combination of effective marketing tactics and genuine enthusiasm from participants proved to be a winning formula. A notable partnership with an Indian magazine, which showcased the awards in a significant article, sparked widespread interest and resulted in hundreds of submissions from India alone. The IPA was pleasantly surprised by the caliber of entries, with many arriving in impressive packages, even though some suffered damage during transit. The event exceeded expectations and proved to be a resounding success, drawing an impressive turnout in both participation and the quality of submissions. Upon receiving thousands of envelopes filled with photographs, the IPA meticulously curated them within the ambiance of a gallery space. A jury of experts was tasked with reviewing and rating each photograph, a task that demanded significant time and attention owing to the sheer volume of submissions. To the surprise of the organizers, the IPA swiftly ascended to prominence, particularly following a glamorous award ceremony held in the illustrious company of the Lucie Awards in Beverly Hills. This event captured the collective imagination of the photography community, propelling the IPA into the spotlight with newfound fervor. Embracing the digital age, the organization adeptly utilized its website as a dynamic platform to amplify the reach and impact of the awards, fostering greater engagement and recognition within the global photography sphere. A heartening element of the process was the genuine enthusiasm displayed by the postman responsible for delivering all the entries to the IPA, a dedicated photography enthusiast in his own right. His support, alongside that of other individuals, played a pivotal role in the resounding success of the event. In contrast to other competitions that predominantly relied on peer judging, the IPA prided itself on its distinguished international panel of experts, which conferred a heightened level of credibility and prestige within the global photography realm. This recognition proved instrumental in solidifying the IPA's position as a foremost platform for celebrating photographic excellence on an international scale. The Pictorial List would like to extend a warm welcome to Hossein Farmani the founder of International Photography Awards, along with the rest of the IPA family and community of photographers. We are excited about partnering and creating the opportunity to share our diverse communities of artists globally. IPA has a twenty year history of honoring photographers while supporting and promoting their photography. IPA rewards photographers in both professional and non-professional categories, outreaching to a broader and diversified representation of photography globally. The Pictorial List team are facilitators for our artists, helping some develop a dialogue and language to speak about their work while highlighting projects and stories that have fully developed narratives. ‘TPL’ supports all the artists in our community, autodidact, non-professional, or professional, looking carefully at their photographs, reading their narratives, and supporting their critical thinking and visual storyline. We extend an open hand and look forward to developing a supporting relationship, broadening our reach while expanding our communities of brilliant photographers. “For over a decade, I worked on an award in Hollywood with movie stars. I applied the same experience to a passion of mine: photography. I decided that we should appreciate all these masters of photography whose images have changed our lives while they are still alive and let the world know the people behind many life-changing images. The Lucie Award was established in 2003. The IPA was created to nurture young photographers to be the next masters.” IN CONVERSATION WITH IPA FOUNDER, HOSSEIN FARMANI THE PICTORIAL LIST: Congratulations on IPA’s 20-year anniversary. That is a tremendous achievement with the dynamics of a forever-changing community. Tell our community about the International Photography Awards. What is IPA’s mission in photography? How does IPA support the field of photography, and what opportunities do they provide to photographers globally? HOSSEIN: After over 20 years and with over a hundred thousand participants, the IPA has become one of the most important awards in photography on a global level. Winning one of the IPA prizes can significantly change a photographer's career in a much more respected manner. Not only does the cash prize amount to nearly $50k but the publicity and promotion have also placed many local winners on a global stage, granting them access to international art buyers and photo editors. Some have even been able to relocate to Europe and the USA through the extraordinary talent visa, thereby transforming their lives and the lives of their families. TPL: Who are the faces behind the International Photography Awards? What are their supporting roles? Tell us about the IPA family. HOSSEIN: IPA is a community of passionate, young individuals who love photography from all over the world, with headquarters in Budapest, Los Angeles, and Athens. Susan Baraz has been leading the jury panel for over 20 years, alongside Hannah, who has been with IPA for over 10 years as Program Director for the IPA and has been managing all aspects of this global photography award for the past decade, from call for entries to the winner announcements and awards ceremonies and photo festivals; Veronika, who has been strategically managing all elements of promotion as Head of Marketing; Aline, who is the wonderful head of Customer Service… the list goes on, and every year, our team grows with new additions! TPL: Tell us about the Lucie Foundation, and the supporting role they make to IPA. How can our community reach out to learn more about the foundation, and how they may make a contribution? HOSSEIN: In addition to organizing the Lucie Awards in NYC, the Lucie Foundation's significant efforts include educating inner-city and underprivileged youth in the art of photography, not only as a hobby but also as a career path as professional photographers. They facilitate "Months of Photography," host photo fairs for photographers to showcase and sell their work to the public, conduct scholarship-specific photo competitions to promote book publishing and exposure for young photographers, and hold fundraisers for various projects. Additionally, they organize photo festivals in Palm Springs, Myanmar, and Cambodia. Members of your community can replicate the efforts of the Lucie Foundation and leverage its 20+ years of experience by creating art fairs for amateur and working photographers, organizing festivals and group shows, and providing education and mentorship to young photographers who can benefit from your experience in improving their skills. TPL: There is a wide range of categories in both the professional and non-professional fields of photography, a diverse selection, and a cross-section of work in visual storytelling. How as an artist does one navigate the choices, to best support their work? How many categories do you recommend choosing for each photograph? HOSSEIN: Both IPA and Lucie celebrate all disciplines of photography. We believe all photographers deserve recognition no matter what their category and level of their expertise are. I encourage photographers to study the past winners of each category and see where their own image fits best. By searching for past winners gives the photographers a good idea of the rates of the jury and how they vote. It’s not necessary to enter many categories, it’s important to understand the relevant category and enter your strong image in a category that best matches the picture. TPL: How important is the narrative they provide about their submission? What do you consider a good artist statement? HOSSEIN: Most important is of course the image and the story it portrays without reading the description or title. I believe the title of the image is the second most important and should be chosen with care. The description of the images sets the stage and possibly helps the viewer and our jury understand more about the image and the consequences of capturing that image. But if the image is not strong enough, no amount of explanation will help it. In fine art photography, I am always asking photographers to write their statements before they pick up their camera. Artist statements are important in a way that helps photographers as artists to focus on their narrative and stay true to their statement. IPA is a community of passionate, young individuals who love photography from all over the world, with headquarters in Budapest, Los Angeles, and Athens. TPL: With the diversity in the range of categories, how do you select your panel of jurors? What is that process of deliberation like? Is it as difficult for the jurors as it is for the artists to make their selection? HOSSEIN: We match the jurors' experience and expertise with the categories they will jury. This way the photographers get maximum exposure to their submitted images. With the quality of images excelling in the past few years tenfold, the task of the jury has become just as much harder. Each year the level of excellence in photography has been raised and has become harder to choose one overall winner. It’s a good challenge to have, and we try to be as fair as possible. The jury votes and comments on photographs as they see fit. We tally the votes and the highest-scoring photographs receive top awards. TPL: What advice would you give to photographers as they prepare their submissions? Is there one thing you find that photographers miss most often, a common mistake? What should photographers avoid, and what should they embrace? HOSSEIN: Most important is to develop your own style. You will develop a keen eye by looking at hundreds of thousands of images and by studying the Masters of Photography and understanding why a photographer has won so many prestigious praises. A significant mistake photographers often make is either undervaluing the importance of community and industry standards by knowingly copying others or by being unaware of existing works. Drawing inspiration from Rome and images while crediting the original creator is a commendable practice, whereas outright copying is deemed uncool and disrespectful. The most successful photographers have created a style that they become known for. This takes expertise and years of practice. TPL: Share a few success stories with us, memorable and defining moments. Could you also open our eyes to some obstacles or challenges you experienced along the way? HOSSEIN: I think personally I have had many obstacles that I had to overcome moving to the USA at such a young age without family. Achieving these difficulties made me appreciate all the things life has provided me. On the IPA level, when we started the IPA and Lucies, mostly I heard “no” from people around me. Most people thought there were already a few hundred photo contests around the world. Why start a new one? But my vision was much grander than what I saw at local or even national-level photo contests. I wanted to unite the world of photography and bring much-deserved respect and recognition to the world of photography. Once our industry understood my vision and how to go about it all naysayers became the flag carrier for our projects. I have achieved that but lecturing and nonstop talking about my passion for photography. TPL: Not everything goes as planned all the time, share some surprises, and serendipitous moments that may have opened unexpected doors. HOSSEIN: In my own life nothing I have done was with grand plans. I have always been a doer sometimes to my detriment. If it feels right, I do it. My decisions are mostly by heart, not head, and not always successful. I would say my biggest success has been my ability to transfer my passions to others and convince many to join my path because I speak from the heart without charts and numbers, and I am willing to take great risks. My career has been full of surprises and memorable moments. But most joyful is when I receive a heartfelt thank you from people that our efforts have been changing their lives. Recently a letter from a young photographer credited us for the prize his father won 18 years ago and because of the prize the family was able to migrate to the USA and create a family and their dream life. Or people who have met and married at our festivals and events. TPL: After the selection of the awards, do you continue to follow your artists, and watch them grow? Nurture their growth? Do your artists remain part of your community, on your radar, being observed with a respectful and careful eye? HOSSEIN: It mostly depends on the artist. I have become close friends with many of the winners as we have traveled together while promoting their winning work in many cities. I do follow many of our main winners' careers and I am always available for advice and promotion of their works. I try to follow as many winners as I can on social media and promote or comment on their work. TPL: What are some of your future goals? Are there any new directions you are exploring that you would like to share? How can we all help contribute to their success? HOSSEIN: I would like to extend the reach of our efforts to other parts of the world, especially in Africa where we have done very little work. My future goal is to build more community centers around the world. Encourage the world to collect and support photography. A challenge I accepted in 1980 by promoting appreciation of photography with classes and lectures on collecting photography still alive and well 44 years later. None of what I have done in my career has been done alone. It’s always been with the help of tireless people that gave me the love and energy I would need to take on these major challenges. I would always count on people who share the same passion to help me achieve my future goals. I count on everyone to help me promote photography in their community no matter how big or small and in exchange I will be always available to lend them my hands and my organization's support. This brilliant new collaboration between The Pictorial List and the International Photography Awards marks a momentous stride in the world of photography. This partnership holds the promise of creating valuable connections between artists and industry. We hope to inspire and nurture critical and creative thinking while fostering the advancement of skill sets giving photographers new ways of engaging their practices in photography. This new expansive platform of support will undoubtedly contribute a positive impact and influence photographers across the globe. VISIT IPA'S WEBSITE Instagram >>> Website >>> Photo Credits: Robert Leslie and Forecast read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

SEEING A WORLD IN A GRAIN OF SAND A poet at heart, Nahid Sultana translates what she sees in her world into a kind of visual poetry that is adored. SEEING A WORLD IN A GRAIN OF SAND May 18, 2022 INTERVIEW PHOTOGRAPHY Nahid Sultana INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Nahid Sultana is a photographer based in Bahrain, though she was born in Bangladesh and has travelled the world with her family - and later with her camera. Always with a creative streak, photography came to her out of a need to capture the places she sees and the emotions she feels and witnesses in others. While her favourite genre of photography is landscape, she is also adept at capturing street scenes and has an interest in expanding into long-term documentary photography. A poet at heart, she translates what she sees in the world into a kind of visual poetry that we adore. To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour. - William Blake “I am not in control of how the poem is perceived but I believe it is how I can express what I see through photography. As I travel, I document my journey through my photos. Every experience. The place, the people, the emotions.” IN CONVERSATION WITH NAHID SULTANA THE PICTORIAL LIST: Hello Nahid, please tell us about yourself. Have you always lived in Bahrain? NAHID SULTANA: I spent the earliest and probably most fundamental period of my life in Dhaka, Bangladesh. We grew up in a society where boundaries didn’t exist. In fact, I don’t even think it was a concept. Most days, after school, I would play outdoors with my neighbourhood friends and we wouldn’t come back in until the sun slept. My fondest memories will always consist of spending our pocket money on ice cream and listening to the channel ‘World Music’ on my father’s radio. As I reflect on these memories, I realise a part of me was always creative. I always loved panting. As I got older I found that I could be most creative with watercolour. The idea of having to put precision and thought before starting each piece had resonated with me. I moved to Australia in the late nineties and continued to live in Sydney for a decade where I put most of my attention on my career development. Buying a good camera had always been a want but I never found the opportunity due to the whirlwind of events I had stacked, one on top of another. For the past 15 years I have been living in Bahrain with my family. It has felt like my home away from home. However, I do still call Australia a home, the very home where I began my solo journey. The place that taught me independence and content with my surroundings no matter the situation. I have been asked multiple times throughout my life where I am from and it has always been a difficult question to answer. My replies have continued to shift and change like the tides of the oceans. For every place I have experienced emotion whether it be the happy, the sad or the ugly. I have developed a deep connection with them and each place shaped me and made me the woman I am today. TPL: From your photos we know you like to travel - is that how you got into photography? Or what was it that sparked your initial interest? NS: To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour. - William Blake I am not in control of how the poem is perceived but I believe it is how I can express what I see through photography. As I travel, I document my journey through my photos. Every experience. The place, the people, the emotions. I would find that many times I returned from a holiday with no pictures of myself but a lady by the window in a coffee shop. My passion for photography began to take off soon after my son was born in early 2000. Between the career that I was developing and the other responsibilities, time was not my best friend and so, like most people, I pushed my hobby to the side and focused on my life around me. Eventually, in 2011, I bought my first DSLR, a NIKON D90. I was ecstatic! Through my friends, I met a few like-minded photography enthusiasts. That is when my love for photography truly bloomed. Due to an unforeseen situation, I had to again put my photography on hiatus for many years. In recent years, I bought a FUJI XT4 and resumed my passion. Though Bahrain isn’t the most picture perfect country geographically, I make the most of what the island has to offer. TPL: Talk to us about your life in Bahrain. Are there like-minded photographers you meet up with or do you rather go out alone? NS: Bahrain is an extremely small island country situated in the Persian Gulf. It consists of 50 natural islands and 33 man-made ones. Bahraini people are amazingly friendly, welcoming and are known in the gulf to have a laid-back lifestyle. You name what you need and it’s a 10-minute drive away. The longest time it takes to cross the island is 40 minutes! From the day I arrived in this country to the day I may leave; I will love this semi-city lifestyle and the hospitality from people with golden hearts. Due to the harsh weather during summer, I don’t go out shooting unless it’s worth it. However, from November till March, the weather is beautiful and if you are lucky, you get to experience sunrises that make the water seem as if it were dipped in gold and sunsets that look like the world was set ablaze. There are quite a few photography enthusiasts in Bahrain. I have friends who I tend to go out and shoot with since the experience is much more entertaining when they are there. We share our knowledge and ideas as we take long walks through the narrow alleyways of Manama or Muharraq! Street vendors and locals in old Manama don’t particularly like seeing large amounts of people with cameras walking around the city so I tend to stick to smaller groups. TPL: You seem quite interested in landscape and architecture photography. What is it that you find especially interesting about that? NS: My Fuji XT4 is so unique in nature and very different to my previous Nikon that I actually had to learn the technical part of the camera before I could go out and shoot! The first thing I shot with my camera was a landscape and because this was during the peak of Covid-19. We were homebound for an excruciatingly long amount of time so it gave me the chance to break down and learn everything I needed for my camera. The rate at which I was shooting landscape and cityscape in Bahrain was rapidly increasing and I slowly fell in love with it. When finding a location to shoot; walking around and scouting frames, setting up the camera while listening to my favourite songs calms me. I find a connection between me and the ambiance and that helps me take my pictures. That’s why landscape is my favourite genre of photography. TPL: You also have some conceptual pictures - such as your series of a man with a hat against different backdrops. How did you come about this idea? NS: If I am going to be honest, I was never a big fan of conceptual photography. That is until I came across an incredibly talented photographer Humberto Salo Dominguez. His unique style and artistic shots of a person with an umbrella or a walking stick fascinated me. In fact, it inspired me to start my own series ‘Man with a Hat’ that consisted of backgrounds all around Bahrain. Through the process of editing and planning this series I came to appreciate conceptual and artistic photography. Hopefully I will come up with more conceptual shots in the future. TPL: In general regarding your photography, where do you find your inspiration to create? When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. NS: When I look back at my past, I have always considered myself a creative person whether it be when I used to paint, decorate my house by creating a theme. I believe I have always had a creative and open mind that I wasn’t consciously aware of. I have always loved poetry, music or even a good book. I consistently looked for an escape in art during some of the roughest times of my life… I truly think my creativity stems from love and acceptance of myself, it comes from within. For every place I have experienced emotion whether it be the happy, the sad or the ugly. I have developed a deep connection with them and each place shaped me and made me the woman I am today. TPL: Do you have any favourite artists and photographers? NS: I was introduced to a couple of famous landscape and street photographers over the past two years. I cannot say I was influenced by them to start photography but I appreciate their photos and I try to analyse and understand them. A couple of the photographers I look up to are: Henri Cartier-Bresson, Fan Ho, Vivian Maier, Ansel Adams, Michael Kenna, Takeshi Mizukoshi, Hiroshi Hamaya, Sean Tucker, Bryan Peterson and Elizabeth Gadd. TPL: Where has been your favorite place to photograph? NS: In my lifetime, I have travelled quite a lot. Unfortunately, I did not always have my camera with me. Most times it was a family vacation and having a camera as well as 2 young children did not work out. Having said that, I had a life changing experience in Masai Mara, Kenya. The national reserve is a whole other plane of beauty, the rugged land, the breathtaking sunrises as well as sunsets. The way the animals thrive in nature, their very existence being what makes the Earth so unique. Masai Mara is God’s canvas, everything perfect in its own way. TPL: What camera do you use? Do you have a preferred lens/focal length? Is there any particular equipment you need or wish you had to help you achieve your photographic vision? NS: At this moment, I use a Fuji XT4 with a Fuji 16-55 lens. In my opinion, it is quite versatile for both landscape and street photography. I don’t have a favourite focal length as I believe each frame needs to be treated differently. I recently purchased a TT artisan 35mm f1.4 manual lens and I am pleased with its outcome. Since photography is simply a hobby, I feel that whatever accessory I have is sufficient for me. Nonetheless, I hope to buy a medium format film camera later on. TPL: What are some of your goals as an artist or photographer? What direction do you think you will take your photography? NS: Honestly, I don’t really have a fixed goal. I love photography and the endless possibilities you can achieve with it. I love the idea that you can capture anything you want with the click of a button. Hopefully, I will be able to cultivate my own unique style in due time. I wish for it to be a style that makes people understand what I am trying to portray. I hope that it can move people the way photography once moved me and led me on this everlasting journey. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? NS: Currently, I do not have a singular project that I am focusing on. However, I am planning to start working my way into documentary photography. I hope to one day document a series based on one single topic over a period of time. TPL: "When I am not out photographing, I (like to)… NS: I like to bake with my children. The process of it is extremely therapeutic to me. The idea of piecing together parts of what could be a perfect dish somewhat relaxes me. Another thing I love is reading poetry. Though I may not have the skills to write them, I go through them thoroughly trying to understand the emotions the writer evokes." Nahid Sultana is a talented photographer who possesses the ability to capture the emotion and beauty of the world around her. Her work captures a sense of visual poetry that can be appreciated by all. To view more of her works and continue to be inspired, we invite you to connect with Nahid on Instagram. VIEW NAHID'S PORTFOLIO Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

A bit of magpie stylistically, but I generally grab shots of slow-moving things I see on the streets (whether it's buildings or grumpy old people) or a bit of landscape. Constantly torn between the contrasty BnW and muted colour versions of my photos - it's time for an additional insta account! I'm constantly trying to improve and welcome all constructive criticism. JOHN MACKENZIE A bit of magpie stylistically, but I generally grab shots of slow-moving things I see on the streets (whether it's buildings or grumpy old people) or a bit of landscape. Constantly torn between the contrasty BnW and muted colour versions of my photos - it's time for an additional insta account! I'm constantly trying to improve and welcome all constructive criticism. LOCATION UNITED KINGDOM CAMERA/S Canon 4000D, iPhone X @SEVENMILLIONBRICKS FEATURES // In My Magpie Way

I am an American photographer of Indian origin, based in Northern Virginia, USA. Growing up in Kolkata, India, I came to the USA on a job visa, back in 1998. I have been taking pictures since the 1980s. My initial inspiration comes from the Indian filmmaker Satyajit Ray. From his films, I've learned the fundamentals of photography, cinematography, storytelling, composition, lighting, and many other essential techniques. PRADIP MAZUMDER I am an American photographer of Indian origin, based in Northern Virginia, USA. Growing up in Kolkata, India, I came to the USA on a job visa, back in 1998. I have been taking pictures since the 1980s. My initial inspiration comes from the Indian filmmaker Satyajit Ray. From his films, I've learned the fundamentals of photography, cinematography, storytelling, composition, lighting, and many other essential techniques. LOCATION Virginia, USA CAMERA/S Nikon D5600, Fujifilm X-T3 WEBSITE https://www.pkmphotography.com/ @_PKM_PHOTOGRAPHY FEATURES // The Holy River The Human Stage

I am passionate about documenting life as it unfolds to create images that matter, at the moment I enjoy capturing my children, nature and the streets of London. I consider myself a visual artist who loves to experiment with light, texture colour and tone, I create images that speak to the mind, heart and soul. Photography is my medium of choice through which I express my artistic vision and love for monochromatic imagery. I also enjoy exploring my city and the mysteries that I encounter with every walk. SOFIA SITNIKIENE I am passionate about documenting life as it unfolds to create images that matter, at the moment I enjoy capturing my children, nature and the streets of London. I consider myself a visual artist who loves to experiment with light, texture colour and tone, I create images that speak to the mind, heart and soul. Photography is my medium of choice through which I express my artistic vision and love for monochromatic imagery. I also enjoy exploring my city and the mysteries that I encounter with every walk. LOCATION UNITED KINGDOM CAMERA/S Canon 6D Markii WEBSITE http://www.sofiasitnikiene.com @SOFIA_SITNIKIENE @SOFIASITNIKIENE FEATURES // Heart and Soul

PICTORIAL STORY KOALA COUNTRY Sean Paris flips the script on rural Australia, using infrared photography to transform everyday scenes into surreal landscapes that invite us to look again. May 24, 2024 PICTORIAL STORY photography SEAN PARIS story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link We immerse ourselves in the creative photographic processes and practices of photographer Sean Paris. Sean’s journey in photography has been a dynamic exploration of artistry and professionalism, shaped by his upbringing in the picturesque landscapes of the Yarra Ranges. Growing up nestled within the Yarra Valley, in Victoria Australia, Sean’s affinity for the natural world was instilled from an early age. Sean’s parents were park rangers, nurturing his curiosity while fueling his passion, feeding his appetite and desire to explore nature’s universe. Sean first discovered his passion for photography, receiving his first camera at the tender age of 11 first exploring landscapes and tree ferns. This initial spark ignited a lifelong pursuit of visual storytelling, leading Sean through diverse genres and creative endeavors as he sought to define his unique photographic voice. “I always loved art growing up. It was all I wanted to do when in school. I used to get told off on a regular basis for always drawing at the back of the classroom. When I got my first camera, it was an art form that I really connected with. I loved the technical side of operating a camera, learning about light, and being able to document my life and the people around me.” Following formal education in Melbourne and years spent apprenticing under various photographers, Sean has emerged as a versatile freelance photographer. Specialising in corporate and product photography, Sean seamlessly blends his technical expertise with an unwavering commitment to artistic expression, infusing each project with his discerning eye for detail and a fervent dedication to capturing the essence of every moment. “A lot of the time, when I think about what has influenced my direction in photography, I struggle to pin it down. I think most of my influence has come from what surrounds me in my life, whether that be interesting people I have met over time or a life experience that changes my perspective on the world and pushes me to want to create work around that.” Sean Paris believes that storytelling is an art form that evolves over time, shaped by experiences and honed through countless endeavors. In the realm of photography, he finds this narrative skill takes on a profound significance. For Sean, photography serves as a medium that sheds light on the unseen facets of society, challenging individuals to confront new realities they may otherwise overlook. Whether capturing moments of adversity or celebrating instances of triumph, Sean weaves intricate tales that provoke thought and evoke emotion. His imagery transcends just being documentation, prompting viewers to contemplate the complexities of the human experience. By harnessing the power of visual communication, Sean not only informs but also inspires, inviting audiences to engage with unfamiliar perspectives and embark on journeys of imagination. In a world inundated with information, Sean believes visual storytelling serves as a beacon, guiding us through the labyrinth of existence and illuminating the intricacies that surround us. “Storytelling plays an important role in photography. We can exist in the world and choose not to see things that are around us in society. A lot of people live this way, using photography as a tool to showcase stories, whether negative or positive, and raise awareness or show something interesting or quirky. It can expand people's ideas of a place and use their imagination. People respond to visual communication; it's one of the first things we learn, and that's why it's so powerful.” We embark on a visual expedition into the heart of rural Australia through Sean’s brilliant visual storytelling. In his latest photographic narrative Koala Country he unveils the captivating tapestry of country towns adorned with eccentric architecture and vibrant holiday attractions. Picture vast landscapes with wheat silos standing as silent sentinels along expansive roads, and nostalgic motor inns evoking the bygone era of family road trips. The kind of visual experiences that will capture the imagination, transporting us to another place and time. Infrared colour photography is a fascinating technique that involves capturing light in the infrared spectrum rather than the visible spectrum. In traditional colour photography, the film or digital sensor captures light in the visible spectrum, which ranges from approximately 400 to 700 nanometers. However, in infrared color photography, the camera is modified to allow it to capture light with wavelengths beyond the visible spectrum, typically in the range of 700 to 1200 nanometers. This expanded spectrum allows infrared cameras to transform ordinary subjects such as trees, skies, buildings, and landscapes, presenting them with distinctive colors and tones. Photographers use infrared colour photography to convey a variety of emotions, moods, and artistic expressions. It can reveal details and textures that are not visible to the human eye and can create surreal or otherworldly images exploring natural beauty, mystery and intrigue, emotional impact, personal expression, symbolism and metaphor. Overall, infrared colour photography offers photographers a powerful tool for artistic expression, allowing them to convey a wide range of emotions, themes, and messages through the unique visual language of infrared light. What distinguishes Sean’s work is his adept use of a modified DSLR camera, skillfully harnessing the 590 nanometers spectrum encompassing both visible and infrared light. Through this innovative technique, he uncovers the hidden cultural and social nuances often overlooked amidst these picturesque settings. The camera’s modification introduces a surreal quality to the visuals, revealing a light spectrum imperceptible to the human eye. Incorporating such a wide range of spectrums allows Sean’s visual storytelling to take new directions, allowing the viewer to get lost in the photographic narrative. Sean is motivated to find the iconic photographic nuances that have been cultivated through the years in rural Australia. Sean is diligent with his research, he investigates the areas he wants to explore, thoroughly studying his subjects. “I prepare all of my solar panels and batteries, get in the ute, and drive in that direction. I work all the way until I reach my destination, so the distance to one location will often double as I stop photographing frequently along the way. I’m always searching for another subject on the road, constantly searching for that photo that will fit into this project. Photographing with a modified infrared camera is unique in the way you have to work with light; in this case, I need full sun and generally no cloud to achieve the style of image I want, which often photographers steer clear of. Working on the infrared spectrum can be challenging; its light we can’t see and reacts differently with different objects and plant matter, so I might drive four hours to get to a location, and then that image doesn’t work out well. This is the nature of the beast.” Sean embraces the technical challenges of infrared photography, choosing the creative process because of its inherent ability to pinpoint subjects, isolating them from surrounding vegetation. Understanding the properties of the wavelengths of light, he recognises that infrared light doesn’t typically reflect off artificial objects like metals or concrete structures, thereby allowing for a clearer focus on the intended subjects. Sean utilises this technique revealing elements in plain sight that are often overlooked. He engages the viewer, enhancing the playful participation with the subjects depicted in rural Australia. Through his deliberate choice of infrared technology, Sean provides a profound platform for observation, allowing his viewers a unique perspective inviting them to explore and appreciate the intricacies of the rural landscape in ways they might not have considered before. “I grew up in the country and have family in the country. I wanted to photograph a place that was close to me and document the way rural Australia looks at the present time. I wanted to focus on the quirks and uniqueness of it. Things are ever changing in this country, things disappear, developments happen. This project celebrates those places.” Every journey carries unforgettable moments, woven intricately into the fabric of the adventure. One such tale unfolded for Sean on the road to the Wimmera in Western Victoria. “I was driving to the Wimmera in Western Victoria, and on the way, I noticed an amazing old pub sign with a big rams head on it. I stepped out of my car, walked up to the sign, and went to take a photo when all I could hear was gunfire. I turned around, and the local gun club next to the pub was firing off around 10 rifles on a Sunday afternoon.” Such serendipitous encounters that happen beyond the frame can become deeply ingrained in the spirit of Sean’s journey, enriching his narrative while infusing the project with layers of unexpected authenticity and charm. “I just finished photographing the infamous Big Koala at Dadswells Bridge when I decided to keep pushing on towards Stawell, a town around 20 minutes from the Big Koala . I had a look around town and took some pictures, then I came across something amazing. A pyramid on the outskirts of town was accompanied by other attractions scattered across the property and seemed to be occupied privately. I later found out this was an old tourist attraction created in the 1980s called Casper’s World in miniature. It was said to have been started up by a dentist who would collect people's teeth and, with the teeth, create miniature worlds and sculptures. That was one of the main attractions of this old theme park.” Capturing the essence of rural Australia presents various challenges, among them being the unpredictable weather conditions, particularly the scarcity of sunlight. Sean seizes every opportunity when the sun does shine to maximise the visual effect of infrared photography. In terms of location selection, he relies on a mix of personal knowledge from his upbringing as well as being diligent about doing extensive research. Sean maintains a vast list on Google Maps, pinpointing unique towns and tourist landmarks across the country. When it comes to capturing the cultural and social subtleties of rural Australian communities, he prioritises elements that are integral to the landscape and history of the areas he photographs. Incorporating nostalgic elements like motor inns not only adds depth to the narrative but also evokes shared experiences of traveling through the vast Australian countryside, creating a sense of connection and familiarity for viewers. Additionally, Sean finds the aesthetics of vintage signage and design from past decades complement the rural landscape and add a timeless quality to his photographs, particularly when captured using infrared techniques. Sean hopes his photography project will shed light on the quirky and beautiful aspects of rural Australia. He believes that by showcasing this part of the history of the country, he can expand people’s perceptions of what rural Australia truly entails. One unexpected discovery he encountered in various areas is the presence of “thong trees” – old gum trees adorned with hundreds of discarded thongs, reflecting a unique aspect of Australian humour. Initially, Sean didn't pay much attention to these quirks. However, as his project progressed, he noticed the disappearance of planned subjects and the gradual decay of historical buildings. He hopes that his series will not only capture these disappearing elements but also serve as a means of celebrating and preserving them. Sean aims to bring recognition to lesser-known rural locations, emphasising their significance amidst the vastness of the Australian landscape. Sean gives great thought to the future of rural communities. Sean harbours a hopeful vision for the modern era to usher in a resurgence of job opportunities and bolstered infrastructure in rural areas. Observing the decline of traditional industries, he empathised with those facing unemployment and hardship, wishing for revitalisation. With a deep appreciation for history and heritage, Sean felt a sense of urgency to preserve the treasures of the past. From weathered old buildings to captivating signage and beloved tourist attractions, he envisioned these cultural gems as essential legacies for future generations to cherish. Sean remains steadfast in his aspirations, dreaming of a future where rural communities thrive and their rich tapestry of history remains vibrant and alive. For Sean storytelling isn’t just a technique, but he considers it to be the very essence that binds his body of work together. His understanding of the pivotal role storytelling plays in photography extends beyond mere image-making, taking much care in crafting narratives that resonate deeply with his audience. He transforms moments frozen in time into poignant tales that not only captivate but also provoke thought and emotion. At the heart of Sean’s approach lies the belief that storytelling lends coherence to his collections, elevating them from an assortment of images to cohesive narratives with important meanings. Each photograph serves as a building block in the larger story he seeks to tell, whether it’s unraveling the beauty of Koala Country or shedding light on pressing social issues. By weaving together thematic elements and evocative visuals, he creates a sense of place and atmosphere that transports viewers into the heart of his projects. Sean embraces a diverse range of methods and styles, tailoring his approach to suit the unique demands of each subject matter. Sometimes, his work takes on a more abstract form, inviting viewers to interpret and engage with the narrative on a personal level. Other times, he adopts a more direct approach, guiding his audience through a structured narrative pathway that unfolds with each frame. Sean’s photography is a testament to the power of storytelling as a tool for awareness, connection, and visual expression. With his imagery he invites us to see the world not just as it appears, but as stories waiting to be discovered and shared. “A lot of the emotional impact in my work comes subconsciously when shooting. I obviously try to view what I’m photographing in a way that will best represent that story, but often there are a lot of things coming into play at that moment, especially the technical side, whether that is camera settings, lighting, or being aware of your surroundings (if you're working next to highways). Often, a lot of the work of creating a narrative with feeling can happen in post-production when you are placing images that work together to compile that story. Sometimes you have the idea for a project and you have to just go and do it without thinking about it too much, as you never know what can happen or how something might unfold. You just have to get out there and photograph as much as you can and be in the world. Sometimes it works, sometimes it doesn’t.” However, amidst the meticulous planning and technical finesse, spontaneity retains its allure. Sometimes, the most profound stories emerge from serendipitous encounters and unforeseen twists of fate. In these moments, photographers must relinquish overthinking and immerse themselves in the world, capturing its essence with authenticity and raw emotion. The journey of a photographer is a dynamic interplay of technical mastery and emotional intuition. Each frame captured by Sean is a testament to the delicate balance between the two, resulting in photographs that exceed visual representation, resonating deeply with audiences and leaving an indelible imprint on the soul. © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris © Sean Paris Sean Paris is an award-winning photographer, renowned for his unique approach to storytelling capturing his visual translations through photography. He brings a wealth of experience and passion to any project, driven by a desire to uncover the hidden gems of rural Australia. Through Koala Country , Sean extends an invitation to viewers, beckoning them on a transformative trek. Together, they will challenge perceptions and cultivate a newfound appreciation for the rich tapestry of rural Australia, as illuminated by the mesmerising radiance of infrared photography. Koala Country offers more than just a photographic journey but serves as a testament to the power of storytelling through visuals. Through the lens of his modified DSLR camera, Sean not only captures rural Australia but also uncovers its hidden narratives and cultural subtleties. His knowledge and use of infrared photography adds a surreal quality to his visuals, revealing layers of beauty imperceptible to the human eye. By delving into the heart of rural communities, Sean preserves and celebrates their heritage, showcasing both the quirks and the beauty of these often overlooked landscapes. His work serves as a reminder of the importance of storytelling in photography, not just as a means of documenting scenes but as a way to evoke emotions and encourage a fresh perspective. Sean invites his audience to see rural Australia in a new light, to appreciate its complexities and nuances. His unique narrative extends beyond mere imagery; it invites us to reflect on our own connections to place and history. Learn more about Sean Paris and follow his links for more inspiration and new ways to think about visual storytelling. The Pictorial List is grateful for Sean’s valuable contribution, and we are sincerely pleased to share it with our community. view Sean Paris' portfolio Website >>> 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 >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. 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.

I was born in Salzburg, but I have now lived in Vienna for a long time. I prefer architecture and landscape photography. I am always in search of symmetrical forms in architecture and landscape and wanting to capture the mood and convey that in my photography. GEORG REITER I was born in Salzburg, but I have now lived in Vienna for a long time. I prefer architecture and landscape photography. I am always in search of symmetrical forms in architecture and landscape and wanting to capture the mood and convey that in my photography. LOCATION Vienna AUSTRIA CAMERA/S Canon EOS 5D Mark III and Mark IV WEBSITE http://www.behance.net/greiter55 @GREITER55 FEATURES // Cycling Cuba In The Mood For Beauty