LIFE THROUGH MY LENS British documentary photographer Jason Shipley finds inspiration in the people he meets and their life struggles. LIFE THROUGH MY LENS August 7, 2020 INTERVIEW PHOTOGRAPHY Jason Shipley INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Jason Shipley is a passionate British documentary photographer from Kingston upon Hull. He finds inspiration in the people he meets and their struggles, which he often documents in long-term series. Jason shared a story with us in the Magazine about British miners and how the miner strikes of the 1980s have affected their lives. His photographs have been featured in such renowned places as the British Museum. Jason's life is filled with photography - full time. We took this opportunity to ask him about it. “I was born in Kingston upon Hull. I grew up here and I’m still living here. It's a working class city built from the deep sea fishing industry. I have been interested in photography since I was 17 (that was in 1987). We had an old 35mm camera that nobody used, I used it the most. My mother had a lot of photos, family portraits mainly. It just appealed to me, catching and saving a moment forever.” IN CONVERSATION WITH JASON SHIPLEY THE PICTORIAL LIST: Jason, where do you find your inspiration to photograph? JASON SHIPLEY: I find it on the street with the people I meet and the struggles people have, it sends me in different directions. TPL: Do you have a favorite genre of photography, and if so, what about it appeals to you? JS: My favourite genre of photography is documentary, mostly social. It’s the gritty essence, but street is my sidekick. TPL: Has your style of photographing changed since you first started? JS: My style has changed a lot, I started in portraiture and flash photography, studio and street. TPL: Do you have a favorite place(s) to photograph? JS: My favourite place to photograph has to be anywhere outdoors. As long as it has humans involved. TPL: Who are your favorite artists? JS: John Bulmer, Don McCullin, Jane Bown, and Raymond Depardon Photography for me is not looking, it's feeling. If you can't feel what you're looking at, then you're never going to get others to feel anything when they look at your pictures. - Don McCullin TPL: How did you think of your long-term documentary project about the miners? JS: I’ve always backed the underdog. I feel the miners deserve recognition for the work and struggles they endured down the mines. Pit life was extremely difficult, as a boy I remember the strikes, on TV, I always would cheer the miners on. After 30 years the miners still check up regularly on each other for health and social related issues, I have never seen such comradeship from any bunch of workers. During the UK lockdown they even called me to see if I was in good health! I'm totally amazed and proud that they thought of me in some ways as part of the team. Editor's note - Read the story 'Comrades Forever' using the links at the end of the interview. TPL: What camera/s do you use? Do you have a preferred lens/focal length? JS: My preference in cameras is Nikon for portraits, street photography Fuji xt3 and 35 mm Nikon F5, for landscape Hasselblad 500cm 120mm. TPL: What characteristics do you think you need to become a good photographer? Any tips or advice for someone just starting out? JS: My honest answer - In photography if you are willing to learn and are a little crazy, and you have an artistic eye, you can learn as much as you want. I believe you constantly learn new techniques throughout your career. I experiment a lot. TPL: Are there any special projects, other than the long-term documentary on British miners, that you are currently working on? JS: I am currently working on a vulnerable youth project, it’s a commission from the youth service. I´m also working on the council estate project in Hull, also a commission. TPL: “When I am not out photographing, I am… JS: When I’m not out doing documentary work I’m usually doing street photography. I’m prolific - I’m out shooting now, I shoot every day, when I’m not out shooting I’m sleeping or in my dark room.” PORTFOLIO INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

THE FINNS Simo Väisänen's Finnish street and documentary photographs speak to the viewer very directly and sometimes leave room for questions and wonder. THE FINNS October 23, 2020 INTERVIEW PHOTOGRAPHY Simo Väisänen INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Simo Väisänen is a Finnish self-taught photographer. He is mostly interested in people, places and details. His love for old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's productions have partly influenced his photographic style. His street and documentary style photographs speak to the viewer very directly and sometimes leave room for questions and wonder. For this interview Simo shared with us some photos from two of his series, "The Finns" and "Almost Photography". “I was born and raised in Kuopio, Finland in the middle of the beautiful Finnish Lake district. After my studies in Oulu, Helsinki and Jyväskylä Universities I got a position in Mikkeli, which is also surrounded by big lakes. Both Kuopio and Mikkeli are situated in Central Finland. I am a Special Education Teacher and Teacher of the Deaf. My interest in photography started as a school boy. Me and my kid brother once got an Agfamatic 100 Sensor camera for Christmas. We really put that camera through its paces and the images we took were pure expressionism. Later, during my studies in Oulu I bought a second hand East German miracle called Praktica Super TL with a 50mm lens. I used that mainly to take photos of my family and friends. After that photography has been an essential part of me.” IN CONVERSATION WITH SIMO VÄISÄNEN THE PICTORIAL LIST: Simo, please tell us what is it that you want to express through your photography? And what are some of the elements you always try to include in your photographs? SIMO VÄISÄNEN: Photography is almost always associated with a reproduction of reality. To me photography is making known my thoughts or feelings. The reality of the world we live in becomes the reality of how I use my visual language or how I feel about a specific idea or subject. Daido Moriyama once said ”Photography is the expression of our desires”. That’s how it is. Light is photography. Photography is painting with light. If the light is uninspiring or dull I just don’t shoot. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? SV: I believe I could say my passion for photography is my constant source of inspiration. I usually shoot for a theme and try to visit somewhere new to get out of my comfort zone. Favourite place to photograph? Could say anywhere. But I could travel to the end of the world and feel frustrated if the light and the environment didn’t inspire me. TPL: Do you think place matters? Do you try to show a sense of place in your photos? SV: Any place is good enough If I find the place interesting and inspirational enough. To me a sense of place is a feeling or perception I hold. That’s why my photographs differ from all others. TPL: Do you have any favourite artists? SV: My love for old Finnish B&W movies, Italian neorealism and Akira Kurosawa’s and Sergei Eisenstein’s production partly explain why I photograph as I do. And if you don’t understand Daido Moriyama or Junichiro Tanizaki you don’t know me. TPL: You have shared with us a story about the Finnish circus. What gave you the idea of doing a photo series on the circus? SV: I’ve always loved circus. It all begun when me and my kid brother hadn’t even started school yet. Our Mum took us to a circus which had come to our home town Kuopio in Finland. It really took me back to my childhood memories when our daughter was old enough to be taken to circus. It was then I realised I must start recording the present that one day will be the past to my daughter. Finland is the most kick-ass country in the world! TPL: The circus is a place of colour and light. How come you chose to use black and white for your photo essay? Especially since your photos in your Instagram gallery are otherwise often colourful. How do you decide what should be presented in black and white and what in colour? SV: If you look closely you’ll notice that only 62 of my 309 images in my Instagram gallery so far are colour images. That alone proves I’m a B&W guy. As you said circus is a place of colour and light. The light, however, is never constant and therefore you must start using high ISO values. That leads to colour noise. I shoot B&W for all classic reasons. It’s a creative choice. When you shoot for black and white, you challenge yourself to remove the distraction of colour. These include colour casts and differences in colour temperature (ambient light sources), as well as specific colourful elements that are strong, which may reside in the background or take away from your story. I even set my camera for B&W. That results in B&W photos on my LCD and in my viewfinder and allows me to better see lighting, shape and form. I reserve colour mainly for travels, family snapshots and random weddings and funerals. The light must really be something special if I otherwise start shooting in colour. Of course I recognise a good colour photograph when I see one. TPL: When you go out on the streets, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? SV: I’ve always thought that the world is full of images just waiting for us to come and get them. When I hit the streets my main target is people, but I won’t spit on any other potential good image either. The more you shoot the luckier you get. And the luckier you get the better images you get. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? SV: There’s a tool for every task. When I hit the streets I want to be as inconspicuous as possible and use wide angle primes. Getting close to the subject has never been a problem to me. My The Finns Series is a proof of that. When I don’t have to worry about being noticed a 24-70mm f2.8 zoom is my tool of choice. I jumped on the mirrorless wagon very early on. Currently I use Nikon mirrorless cameras and lenses. The future is absolutely mirrorless. I’m a Nikon Z Creator. TPL: Have you ever been involved in the artistic world before photography? SV: Music has always been a part of me. My register in a male choir was Second Tenor but unfortunately I had to leave the choir because of my work. I just couldn’t find time enough for evening rehearsals or weekend courses far away from my hometown. However, I haven’t forgotten singing completely. When the house is empty I turn into an operatic tenor. Otherwise I sing in the shower to my family’s delight. Believe you understand. TPL: Are there any projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SV: I constantly add images to my old photo series. Don’t know for sure yet but I’d like to devote next winter to winter images of Finland in black and white. That would also involve going to the woods. I used to be a nature photographer before mirrorless cameras so that won’t be a problem for me. First and foremost photography is something that makes me feel happy. I couldn’t imagine life without it. When I see a good final image on my computer screen or as a print, the emotion is often physical. In addition to this very personal side I want to expose my work in public. All artists need publicity. If my images make people feel even a tiny bit the way I felt when I made the image, I’m happy. I don’t actually believe in photo exhibitions. I really hope I could publish a book at least in five years. Exhibitions come and go. Photo books last forever. TPL: "When I am not out photographing, I (like to)… SV: When I am not out photographing I like to spend time with my family, listen to my favourite music or read books. Sometimes I have to forget music and books completely because of editing my images. But as I said before, post-processing can be devastating, it can be revelatory, it can actually be great fun." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. TRUE LIFE IMPRESSIONS June 14, 2024 INTERVIEW PHOTOGRAPHY Matthias Gödde INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Welcome to an exploration of the photographic world crafted by Matthias Gödde, a photographer whose work delves deep into the raw essence of human emotion with unparalleled authenticity. Matthias' photography transcends mere documentation; his photographs serve as windows into the very souls of his subjects, inviting viewers to contemplate the complexities of the human experience. Eschewing contrivance and artifice, his images offer unadulterated glimpses into the everyday moments that define our lives. For him, it's the people who inhabit these spaces that truly breathe life into his compositions. Through meticulous curation and a keen eye for detail, Matthias crafts series that resonate with profound emotional depth, blurring the lines between observation and introspection, infused with wit, irony, and sometimes even absurdity. Reflecting on his journey into photography, Matthias traces his passion back to a childhood encounter with a book on photography techniques. Despite initially grappling with the technicalities, the allure of capturing the visible world through chemistry left an indelible mark on him. Fueled by a voracious appetite for visual exploration, he immersed himself in the works of luminaries past and present, drawing inspiration from the rich kaleidoscope of artistic expression. With over four decades of experience behind the camera, he continues to evolve his craft, drawing inspiration from a diverse range of subjects and themes. From street photography to urban landscapes, his work remains rooted in the tradition of new color photography while embracing the ever-changing landscape of contemporary visual culture. Join us as we explore the mind of Matthias Gödde, delving into the inspirations, challenges, and triumphs that have shaped his remarkable photographic journey. “Today I see myself as an author photographer. A term that was coined in the 80s by the art critic and curator Klaus Honnef. I have been working on very different topics for years. If, like me, you have been taking photographs for 45 years, this is a tried and tested means of having different seedlings to trigger your gaze and perception again and again. My roots lie in the new color photography of the 80s with its street and urban landscape photography is something I still feel strongly connected to today.” IN CONVERSATION WITH MATTHIAS GÖDDE THE PICTORIAL LIST: Hello Matthias…welcome to The Pictorial List! Let's start by telling us about yourself. What would you say first drew you to photography? MATTHIAS: Looking back, I had no choice. When I was 10, I came across a small book about photography techniques from my older brother. It was one of those long summers that, as a child in the 60s, made the holiday season seem endless. So, with an abundance of time, I read several chapters about film processing and how to put negatives on paper in a darkroom. At the time, I didn't really understand much of what the content of the book was trying to tell me. However, the magic of the latent image that can preserve the visible world with the help of a little chemistry has remained to this day. Reading this book was the seed that took several years to sprout. There was a drugstore in town that sold darkroom supplies, but my pocket money wasn't enough. However, that same year I bet my entire pocket money on the main prize at a lottery booth at the fair and won a Kodak Instamatic 133, which became my companion on school trips. My interest was directed towards art by an uncle who painted and knew how to copy old French and Flemish masters. An intensive engagement with painting and graphics began. I got everything I could find in illustrated books about it from the city library. Because of the desire to see, I could never get enough. This also later impressed my parents, who enabled me to study visual communication at the age of 17. Here the seed sprouted and germinated. It took less than 4 weeks, and I was just hanging out in the photo workshop. The university library was a mecca for good monographs about American and European photographers. My eyes didn't get a break. In a small circle of like-minded people, we met at the cinema at least twice a week. Taken together, the best preparation for refining your own vision. TPL: How do you think your background in visual communication has influenced your perspective as a photographer? MATTHIAS: It was something like a Studium Generale. I was just 17 years old and came from a middle-class family and a small-town environment. The company of teachers and students, many a little off track, looking better than I knew it, was pure inspiration. The freedom to try out different creative disciplines alongside theoretical subjects such as art history and perceptual psychology are formative influences. Getting to know different aesthetic positions opened up a field of possibilities that still resonate today. TPL: What role does storytelling play in your photography, and how do you balance narrative with visual aesthetics? How do you approach the process of capturing the essence of human emotion in your photographs? MATTHIAS: This is a good question but not an easy one to answer. Many of my photos are still strongly influenced by the aesthetics of cinema. This is where the roots and key to my photography lie. It is these moods and the rhythm that are inherent in films and literature. When I look at documentary photos, I always make up a story about them. I see the scenes with their history and their future. Of course it's all fantasy. This creates new images in your head. Photos are the congealed part of a story. TPL: What advice would you give to aspiring photographers who are looking to develop their own unique artistic voice today in photography? MATTHIAS: Neglect the flood of digital images. Check out photographers' monographs. There is more excellence here. TPL: Can you share any memorable anecdotes or stories from your experiences as a photographer? MATTHIAS: In the 90s I drove across northern Italy with a friend to photograph the wonderful grave sculptures in cemeteries. After a week we had a day at the beach. When we got back to the camper, it had been broken into and our equipment and all the exposed films had been stolen. We only took our 35mm cameras with us so we wouldn't miss any subjects on the beach. However, large and medium format cameras were also among the stolen goods. We then visited the same cemeteries again to repeat the recordings. A fallacy. Photographs are always tied to a singular event. All newly taken pictures were missing something. The magic of the first perception was lost. TPL: Looking back on your journey as a photographer, what are you most proud of accomplishing, and what do you hope to achieve in the future? Any projects or ideas you are excited to explore? MATTHIAS: When I look back, all the photos form a quartet of memories of my life. I mix and re-arrange the images every now and then. It's always a different version of me. This quartet is still missing a few cards. Let's see which ones come along. When I look back, all the photos form a quartet of memories of my life. TPL: Can you share any insights into the technical aspects of your photography, such as your choice of equipment or preferred shooting techniques? MATTHIAS: I took analogue photographs until the 2000s. 35mm, medium format and large format were used depending on the subject. Today it is mainly digital full format and medium format cameras. A Mamiya 7 was my constant companion for a long time. A viewfinder camera has the great advantage that you can look beyond the subject and are not immediately limited to a section that excludes everything else. Even with digital cameras, I rarely look through the electronic viewfinder. I keep an eye on the scenery via the screen. TPL: Could you describe your creative process from conceptualization to execution when working on a new series? MATTHIAS: It's more of a chaotic approach. If you, like me, have been photographing for many years, you'll always end up with images that suddenly fall out of the camera outside of your own redundancy. Vague fragments that slowly develop as sediment into something that can be walked on. I often feel bored with certain topics. Perception is an open system. TPL: How do you choose your subjects or scenes to photograph, and what draws you to them? MATTHIAS: It's something like a matrix. They are reflexive and anticipatory reactions. A mélange of everything seen from dreams, books and films filtered through heart and experience. TPL: What is your takeaway from the work you do? In what ways has your photography evolved over the course of your career, and what factors have influenced these changes? MATTHIAS: In the analogue phase of photography, it was hardly possible to give the images a special look beyond the choice of film material and photo paper in post-production. The possibilities today are comparable to painting. The color grading and the selection of papers and printable substrates seem limitless. The way of taking photos, however, is almost unchanged. It seems to be something native to the language. If you haven't learned to dream in another language, your worldview and world experience are set. TPL: If you could work with any photographer for a day, from any time period, who would that be and why? What would you want to learn from them? What would you like to share with them? MATTHIAS: There is this saying: “A real voyage of discovery does not consist in seeking new lands, but in seeing with new eyes.” I would want to have a very long conversation with him about how he thinks about life. After all, we don't photograph what we see, but rather what we are. TPL: When you're not creating your visual stories, what does Matthias Gödde do for leisure? MATTHIAS: Waiting for the time when I can create visual stories. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. A LOVE SONG TO THE AMERICAN WEST A WONDROUS NOTE September 6, 2023 INTERVIEW PHOTOGRAPHY Ross Taylor FEATURING cellist Russick Smith INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE We have the pleasure today of seeing and hearing the visual stories created between a photographer, and a musician. As the wind sweeps through the landscapes the notes of a cello fill every void. How does a photographer elicit sound, allowing us to see the music, as our ears interpret what we see? Photographer Ross Taylor is based in Denver Colorado, focusing his eyes through the lens on the ordinary, engaging the viewer to observe more. Ross frequently documents events that have led to human trauma, he finds that through his visual storytelling he can help mitigate grief. Ross explains. “I seek to create work that reveals and lends new insight into common experiences, In hopes of creating a deeper understanding of the human condition through visual representation.” Living in Colorado has inspired a new series, a love song to the American West. The musical scores are composed and realized in the western landscapes of the United States, performed by cellist Russick Smith. Together Ross and Russick journeyed nearly 3000 miles, across Colorado and Utah hoping to create a new awareness for geological fragilities that are suspect of the preservation challenges of the devastating effects of climate change. Through a heightened sense of wonder seen in this photographic series they hope to inspire new respect for these spaces. Russick Smith and his cello bring life to the landscape. Whether performing for audiences high above, like a bird nesting in the trees, Russick plays the accompaniment to the rushing waters of the estuaries cutting through the landscape, carving through the canyons. Together they synthesize the elements, visualizing the music and allowing a deeper, more meaningful connection to be made. Russick adds insight into the creative and critical thinking processes they shared. “Many of the unexpected circumstances that we encounter throughout our lives are negative, possibly traumatic experiences. Those experiences have a tendency of mounting internally, fostering a cynical mindset that can ultimately become the default lens through which we view the world. To counter these negative surprises, and thereby the cynicism which they foment, my goal is to generate simple and meaningful moments to prove that the world can be unexpectedly beautiful - that to interact with the world-at-large does not just mean susceptibility to trauma but also vulnerability to joy.” Russick recently lost his father and finds these performances help him heal the trauma of losing a loved one. He shares his loss and inspiration. “Once, as I sat up in an aspen grove, I played what I would’ve played if I could have sat with him and played him out. I had clipped a picture of him into a tree below, nobody knew it was there. It was the last thing I took out of his place when I cleaned it out. I felt like it was the first tree performance, and he was looking up at me, still helping. When I am helping people see the beauty of this world, I am continuing his legacy. And when I’m playing, no matter where, I’d like to believe that the music is still reaching him; that maybe it finds its way to places at which I could only wonder, to wherever he’s hiking now. Doing these things, the way I’m doing them, I know that he was proud of me and, hopefully somewhere, still is.” Together Ross and Russick have transformed the American West landscapes, with a symphony of music, allowing the aperture to open providing the viewer with a front row seat to the visual stories that embody the elements through sound. We have been invited to reveal more of the magic they create in this interview with Ross Taylor that may lead to more understanding of their visualization and their inspiration. “The narrative we consistently pursued was one of unexpected joy, as that counterbalance to cynicism. While you don’t see it in some of these images, there were sometimes people who stumbled upon us as we made these images. To see their faces, light up and the joy they held in watching him perform was so wonderful. I think that’s at the heart of it - creating something ostensibly just beautiful for its own sake, that’s what we are trying to do.” IN CONVERSATION WITH ROSS TAYLOR THE PICTORIAL LIST: Thank you Ross for taking us on your journey through the landscapes of the American West. How did the two of you find each other? What was the connection before this project? ROSS TAYLOR: Thank you so much for this opportunity. It’s an honor to be here. I first learned of Russick from an article in The Denver Post, where I saw an image of him in a tree. It was amazing - I’d never seen anything like it (or him) and wanted to learn more about him. I contacted him via social media, and we later met for coffee. I learned some about his unique past - in part, that he used to work on tall ships along the East Coast and was used to climbing with harnesses high above a ship. I asked if he’d be open to a collaboration over the next year and, thankfully, he agreed. TPL: Taking a journey over so many miles can be a bonding experience, or distancing one. What were some of the ground rules? Was working together and living together a key to this project? If so how and why? RT: You’re right. We spent a lot of time together, not just in the making of the images, but in the preparation of them. We also don’t live in the same city (we live roughly an hour and a half from each other), so coordinating these sessions required a lot of planning. During these sessions, we grew a lot closer together, which was key since collaboration was at the heart of this project. We spent scores of hours either together in a car, in a hotel or on location and the ability to get along was critical. Our one ground rule, per se, was that the images had to be made in unexpected spaces in nature, and whenever possible, in remote locations. In short, we wanted as much distance between the expected norms of cellist performance as possible. The idea was to invoke a heightened sense of wonder as a result. TPL: Introduce your series, ‘A Wondrous Note’, to us. When and how did this project first manifest for you? What is the full story behind the project? What was the inspiration? RT: The project began in fall of 2021, our first session together was along a mountain pass outside of Breckenridge, Colorado in an Aspen grove. It was there, seeing Russick high above in an Aspen tree mixed with the brilliancy of the fall colors, that I felt we were onto something. I think the story behind the project is multi-layered. I’ve worked as a photojournalist for a long time, and I’ve covered some very intense and traumatic issues along the way. For me, this portrait series was a type of counterbalance to some of this work. I wanted to give myself permission to ostensibly create work that was beautiful and could spark joy, and Russick felt the same. As noted in this piece, Russick’s father passed away unexpectedly not long before we began this series. He was quite close with him, and his father instilled a deep appreciation for nature. While I can’t speak for him fully, I do know that he thinks of his father often when he plays in such locations. As a team, we both also wanted to create a sense of wonder in these images, through the connection of his performance and the stunning backdrop of the American West. TPL: Talk to us about your method and experimentation before the final images in your project. Did you know how you wanted the project to look? How long did each image take to create? RT: Russick has lived in Colorado a long time, so that helped in our understanding of the region. His insight, paired with my understanding of visuals, helped us scout out locations and time of day/lighting, etc. Regarding the aesthetic, we wanted no imprint of human activity (buildings, power lines, etc.) and a theme of remoteness throughout. Most images usually took a day (more or less) as we normally would photograph around sunset and just had time for one scene (typically). The actual photographic part was usually a window of about 30 minutes to one hour. TPL: What camera did you use? How much equipment did you bring, what did you use? What was Smith’s equipment? RT: I used a Nikon D850 with a 24-70mm, 35mm, or a 50mm, typically. I often brought a 8-foot ladder, or a step ladder when needed. Russick brought a cello that he uses for outdoors and he hand-built his tree harness! It’s really impressive. TPL: What importance does storytelling or key themes hold for you? RT: For me, storytelling ties us together. It helps bridge gaps and offers connections through a shared experience and heightened understanding. When you mix this with unexpected moments of joy and beauty in the natural world, I think the experience is also more deeply shared. I wanted to give myself permission to ostensibly create work that was beautiful and could spark joy, and Russick felt the same. TPL: Was there a time of day you aimed for? Music is played in time, did time dictate the music? RT: We usually photographed at sunset, and we had to make sure weather conditions were appropriate (not too cloudy, etc.) He played usually improvisationally and he’s exceptionally good. It was a joy hearing him play. TPL: Did you keep a journal, a sketchbook, did the music and photography inspire words? What stories did you share over a campfire? RT: I didn’t keep a journal, but we did work out some of the wording you referenced earlier in the piece. It took some time for us to distill the project idea. And while we didn’t have a campfire, we spoke often and at length about some of the deeper issues we’ve faced in our lives, and how creating work like this can be therapeutic. I’ve very grateful for those conversations. TPL: What were some of the surprises along the way? What was your 'take away'? RT: I think almost each session had a surprise, mainly in seeing Russick perform in such stunning places. It just so unusual, seeing and hearing him perform with stunning backdrops. It’s also really fun seeing people who come across us. One woman we ran across in a slot canyon in Utah told Russick it was the most moving performance she had ever seen. My 'take away' from this is that it’s ok to want to create work that has the potential to be therapeutic, in whatever form that may be. TPL: What do you want the viewer to 'take away' from the visual stories? RT: Our hope is what we talked about above, namely that the images can spark some unexpected wonder and joy in the viewer. I know creating these images did this for Russick and me. TPL: What have you learned about collaborating on projects? Share some of your wisdom about making these honest connections through photography and music. RT: Collaboration was key here. I couldn’t have done this without him, obviously, and the same for Russick. Together, we created something beautiful, in my opinion. Making these images was an honor. To hear Russick playing high in an Aspen tree, in a lonely desert landscape or with the backdrop of mountains at sunset, was just such a privilege. I don’t take it for granted and will always be grateful. Thanks so much for allowing us to share these images, as well. It means a great deal. TPL: “When I am not out photographing… I love to be outside exploring Colorado and the surrounding western states. I also really love to hike high elevation mountains - anything above the tree line is where I like to be.” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

A SENSE OF TIME AND PLACE West Yorkshire photographer Peter Bartlett has a long standing interest in capturing the sense of time and place dating back to the 1970s. A SENSE OF TIME AND PLACE October 30, 2020 INTERVIEW PHOTOGRAPHY Peter Bartlett INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE West Yorkshire photographer Peter Bartlett has a long standing interest in documentary photography dating back to the 1970s. This has evolved into a portfolio that documents everyday life against a backdrop of the ordinary urban landscapes of northern England over the last fifty years. Since his retirement in 2006, Peter has immersed himself in photography, undertaking many different projects, exhibiting his work internationally, gaining several hundred acceptances and receiving numerous awards. In 2010 he was awarded a Licentiate of the Royal Photographic Society (LRPS). A long term project photographing Manchester’s Northern Quarter included a body of work that gained Peter an Associateship of the Royal Photographic Society (ARPS) in 2018. Peter has self-published several books of his work including the titles ‘Shards of West Yorkshire’ volumes one & two, ‘The Northern Quarter’, ‘Various Covered Vehicles’ and ‘Empty Premises’. October 2020 saw the publication of Peter’s 2019 project ‘A Day at the Races’ through ADM Publications. “I was born in Stockport in Greater Manchester and have lived in different parts of the North of England all my life. I now live near Huddersfield in West Yorkshire. My first experience of photography dates back to the age of around ten when I was given a Halina 35x for Christmas. With this camera I learned about exposure and how to process and print black and white films with the help of my father who was a keen amateur photographer.” IN CONVERSATION WITH PETER BARTLETT THE PICTORIAL LIST: Peter, you told us that your interest in documentary photography dates back to the 1970s. Could you tell us more about that? PETER BARTLETT: As a hobby photographer, most of my images were ‘one-offs’ as opposed to parts of themed sets, but throughout the 70s and 80s I was always fascinated by the work of leading photojournalists and looking back at old prints and images I can see the influence these photographers had on my work. After a break from photography in the 90s I bought my first DSLR in 2003 - initially my images were fairly eclectic but I was drawn to street photography, making a conscious commitment to that genre around 2010. In recent years this has evolved into themed projects, many of which have become self-published books on the Blurb platform. TPL: Where do you find your inspiration to photograph? PB: I'm an inveterate people watcher, so wherever I go, whether I have a camera with me or not I watch, observe and see potential images - not only people but also the urban landscape around them. I guess my inspiration is everyday life. TPL: You did not grow up in an Internet-based age. (None of our team did either.) How do you feel about the various social media photo platforms that have made sharing photography with a large audience so easy? What advantages and disadvantages do you see in this? PB: I have used Flickr for many years and more recently Facebook and Instagram. Each platform provides a means of sharing my images and perhaps more importantly viewing the work of others. Sadly Flickr is a shadow of what it was and I have never really been comfortable with Facebook. When I signed up to Instagram just over two years ago, I was sceptical, but the platform won me over quickly and opened up a number of wider opportunities including contribution to an online exhibition during lockdown, the publication of ‘A Day at the Races’ and of course, this feature. So, mainly positive although I do have concerns about some of my images being lifted and used by others without permission. But, I guess that’s one of the risks of online life. TPL: In general, what do you want to express through your photography? And what are some of the elements you always try to include in your photographs? PB: Now, most of my photography is project based, each image is part of a larger piece of work. Depending on the project, I guess my principal objective is to capture a sense of time and place. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PB: My serious interest in photography evolved during the 1970s and I recall enjoying the early work of Martin Parr along with Chris Killip, Chris Steele-Perkins, Tony Ray-Jones and Homer Sykes. In the late 1970s I was hugely impressed by a major Cartier Bresson exhibition at the V&A Museum in London. Shortly after that I bought a copy of Ian Berry’s book ‘The English’, which I browse now. I’m sure much of this will have stayed with me. I'm an inveterate people watcher, so wherever I go, whether I have a camera with me or not I watch, observe and see potential images - not only people but also the urban landscape around them. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? PB: Initially I used a DSLR for street photography, usually with a prime lens. Ten years ago, I moved to the micro four thirds system. I’ve had several Olympus bodies and currently use a Pen F with small prime lenses (usually 28mm, 34mm, and 50mm full frame equivalent). I do have other lenses including zooms but use these much less. I also use the Ricoh GR range (currently a GRiii) with its fixed 28mm equivalent focal length. The move to a more compact kit enabled me to capture images that would have been impossible with a larger camera. TPL: Your photos show people in your home country, the UK. Do you have a favourite place to photograph in? PB: As a student I studied the Industrial Revolution and have always been fascinated by the remnants of those times in the Northern post-industrial communities, where I have lived all my life. So, I love to make images against the backdrop of post-industrial landscapes in the communities across the North of England. TPL: When you go out on the streets, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? PB: Yes and no. I usually work on several projects at a time. Typically, I’ll have a specific project in mind when I go out to photograph, but I’m constantly on the lookout for images that will fit within other projects, as well as subjects that may be the inspiration for a new project. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? PB: When I moved to a project based approach I hoped that I might create a body of work that captures something of the lives, times and activities of ordinary people in the part of the UK where I live. It will, perhaps, be for others to decide whether I achieve that objective. Five years seems a long time! The impact of Covid-19 has been significant for me. I’m over 70 years of age and during the spring lockdown I took stock and recognised that the world has changed and things are not likely to return to the way they were. I have no desire to shoot images of people in masks, nor do I think that at my age it will be wise to spend time in busy places shooting street images with a wide angle lens. So I anticipate that my work will focus on urban and post-industrial landscape along with images of quirky subjects that catch my eye. That said, I’m sure that a fair number of images will continue to include people! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PB: The images that illustrate this interview are from my project 'Shards of West Yorkshire'. In 2016 I embarked upon this long term street photography project hoping to capture something of the essence of the post-industrial communities of West Yorkshire. My plan had been to continue shooting until the end of 2020 and self-publish five books, each of around 65 images. The intervention of Covid-19 in March brought an early conclusion to the planned shoots. Two books have been published (Vol.1 & Vol.2). I am currently working on Vol.3 and expect to publish this in the New Year. I do have sufficient images for a fourth book, whether there is enough material for a fifth book is something I’ll consider after Vol.4 is published in late 2021. TPL: "When I am not out photographing, I (like to)… PB: Listen to music (jazz and classical) and spend time with my family." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

SOCIAL STUDIES Argentinian photographer Victoria Gonzalez Garcia finds inspiration in her environment and explores social themes. SOCIAL STUDIES July 31, 2020 INTERVIEW PHOTOGRAPHY Victoria González Garcia INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Victoria González García is an Argentinian photographer currently based in Madrid. Born in Buenos Aires, she studied Social Communication at the University of Buenos Aires, then went on a student exchange scholarship to the Carlos III University of Madrid, Spain. She specialized in Photography, Film and Political and Social Video at the Complutense University of Madrid, Spain and is currently studying through distance learning for a diploma in Social Photography (The Camera as a Tool for Social Research) at the University of Buenos Aires, Argentina. We interviewed her for The Pictorial List. “Photography was always a part of my life, the Kodak reels and cameras. I remember that when I was little I loved posing for photos, my parents recorded my childhood and that of my sisters, our life, the acts at school, when we lost our first teeth, Christmas, holidays and every episode that marked something important for us or for our family. At 21 years old, I started to get interested in the photographic world and decided to start studying, so my parents gave me my first analog reflex camera as a support and incentive.” IN CONVERSATION WITH VICTORIA GONZALEZ GARCIA THE PICTORIAL LIST: Victoria, where do you find your inspiration? VICTORIA GONZALEZ GARCIA: I find it in life, in everyday life, in what surrounds me. But I am also restless and curious, it motivates me to learn new things all the time, whether it is discovering photographers, getting to know their work and careers, watching documentaries about photographic projects, knowing the history behind them, going to exhibitions, festivals, meeting people of that world and exchanging concerns. Trying new things, getting out of my comfort zone, shooting and giving myself up to the mere process of creation. TPL: Do you have a favourite genre of photography? VGG: I am very interested in the social, the documentary, and of course this is due to my social training. I want my camera to be a tool that helps me to visualize stories that can raise awareness or at least leave people thinking about some issues, be they social, political, cultural or ideological. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VGG: Saying I have a favorite artist or photographer would be a lie. I like many. For example, William Klein, Vivian Maier, Annie Leibovitz, Henri Cartier Bresson, Diane Arbus, Sara Facio, Paz Errazuriz, Adriana Lestido, Marcos López, Chema Madoz, Man Ray, etc., the list would be endless! I cannot say that only one has inspired my style, I think all of them have, and even some that I have not named above. Both photography, painting and cinema have set a precedent for me and have forged my style. TPL: Do you have a favourite place to photograph? VGG: No, I have no favorite places, all places can be great. I think more what defines it is not the place itself, but the connection with what you are photographing and what is generated around that relationship. Art is not a mirror to reflect the world, but a hammer with which to hit it. ~ Bertolt Brecht TPL: What characteristics do you think you need to become a 'good' photographer? Any tips or advice for someone just starting out? VGG: I think you can have the best camera in the world, but if you don't have a good eye, you don't have anything. I feel that the best advice I can give to those who are just beginning in the art world of painting with light, is to practice, to shoot a lot, to investigate, to study, that if something does not turn out as you would like, do not be discouraged, keep going, practicing. At least that's what I keep doing. A phrase that I say a lot when asked about this is "practice makes perfect". TPL: What camera(s) do you use? Do you have a preferred lens/focal length? VGG: I have two favorite cameras, my digital camera and my analog camera that has a 50mm lens which I usually use in my digital camera, exploiting all the artistic possibilities that it can offer me. TPL: Have you ever been involved in the arts before photography? VGG: No, never, the artistic world was always there and I was on the opposite side of the road, contemplating those things, from different fields that fascinated me. TPL: Are there any special projects you are currently working on? VGG: Yes, I am presenting 'Intervenidas', my first photographic and illustrated project carried out collectively among women that was born during the quarantine. It is a small series of my photos, which I sent to six women illustrators of different nationalities, so that without parameters or prior artistic criteria, they would “intervene” in them, trying to cross styles and two disciplines, photography and digital illustration. TPL: “When I'm not out photographing, I... VGG: I am thinking of the next photo I want to take.” PORTFOLIO INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

GRATUITY INCLUDED Chris Suspect is a street and documentary photographer whose work specialises in capturing absurd and profound moments in the quotidian. GRATUITY INCLUDED October 9, 2020 INTERVIEW PHOTOGRAPHY Chris Suspect INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Chris Suspect is an acclaimed street and documentary photographer whose work has been exhibited around the globe and has won numerous awards. His photography captures the absurd and profound moments in everyday life, as well as the results of his deep dives into various subcultures. He is currently the chairperson of the Focus on the Story Festival in Washington, DC, and a guest lecturer at StreetFoto San Francisco and Street Photo Milano. His work has been published in the form of a book titled Suspect Device, which is held in the Leica Galerie Archives. In this interview, we delve into Chris Suspect's relationship with photography and uncover the stories that have shaped his approach to the craft. We explore the creative processes that inform his work, the events and experiences that inspire him, and the impact photography has had on his life and career. “Photography has literally taken me around the world. My first publication, Suspect Device, in 2014, brought me to Photokina in Germany where my work was included in a massive exhibit on music photography. This was part of Leica’s presence at Photokina, and they flew me to Germany to participate. While there, I shared my work with several German gallerists, and those connections brought me to Tbilisi, Georgia, for an exhibit of the same work as part of the Kolga Tbilisi Photo Festival. While this was going on I was also entering my street photography work into several street photography competitions in Miami, San Francisco, London, Brussels, etc. I often was a finalist in these events and over time I have been asked to present my work in these locations. All of this served as a springboard to other opportunities, which led me to Romania, Italy, the Middle East, etc. It’s been a nice and surprising journey.” IN CONVERSATION WITH CHRIS SUSPECT THE PICTORIAL LIST: Chris please tell us more about yourself. What led you to photography? CHRIS SUSPECT: I am from Hyattsville, MD, just over the border of Washington, D.C. While the DC area has been my home for most of these years, I have lived in Moscow, Bangkok and Copenhagen. In addition to being a photographer, I am also a musician, video producer and podcaster. My interest in photography started in my early 20s. I was not a photographer at that time but a bass player for a punk band called The Suspects. I used to go to the library to browse photo books and then make copies of the photos I liked for band flyers. I was primarily interested in war and crime photography because these kinds of graphic images lend themselves to great promotional posters for the kind of music we played. Fast forward 15 years and I wound up getting my first point and shoot camera to document the birth of my son. I read the manual and would go out on my own and try to see what I could do creatively with the camera settings. I had no idea I was doing “street photography” at the time, I was really looking to recreate the style of images I used for flyers many years ago. After some positive feedback on Flickr, many stolen images by bloggers, and requests by a few magazines, I decided to get more serious and started to pursue photography by enrolling in a colour photography class as a continuing education student at the Corcoran School of the Arts and Design. TPL: What excites you about the photography you are creating? CS: Ultimately what inspires me is that I do photography for myself. When I started out I told myself I did not want to do photography for money or earn a living off of it. In the past, I have started many creative ventures, for example music publishing, videography, and podcasting, that have turned successful and have become a job. Meaning, I started doing work for clients. What ultimately happens in each case is that I found myself doing work more for the money than for the sake of doing the work itself. This sucks the passion for it right out of the process for me. I think by not caving in to the lure of financial gain, I have been able to maintain my passion for my photographic work. It doesn’t matter if I make money or not. That is not what photography is about for me. Just the ability to create what I want to create, whether successful or not, is what keeps me going and still excites me to this day. TPL: How do you choose your subjects and your projects? Also tell us a bit about your two previous published books? CS: Almost everything for me begins with a serendipitous act. Often I don’t choose a project, it finds me. For example, I have a body of work called Faith that explores gay African Americans and their relationship with religion. This came about by witnessing a car accident in Washington, D.C. I photographed the scene and gave copies of the images to the person who was hit by the car. Months later this person called me up and asked me to shoot a party. Knowing he was black and gay I thought it could be interesting, as I had never been to a party like that before. This experience opened up a whole new world to me that eventually led me to shooting underground African American Baptist Church services. Going to Romania for the VSLO photography and visual arts festival is what led to working on “Old Customs.” I wasn’t planning on starting a project when I went there, but once I got interested in their youth culture I just kept pulling on those threads and pursuing it, doing my best to make sense of what I was doing. At the start of 2020 I made a New Year’s resolution to publish 4 books, 1 for each quarter of the year. Old Customs is book number 3. The previous books are Gratuity Included, a collection of wild party-type photos from over the past 8 years that reads like a fever dream or an Alice in Wonderland-type sequence, and Leather Boyz, a deep dive into the gay BDSM culture in Washington, DC. The fourth book will likely be a return to my roots with an emphasis on music photography. All of these other books are black and white. Old Customs is the only one in colour. TPL: What was the process of getting the people in Vama Veche to be open to you photographing them? Can you describe your creative process in your project/book OLD CUSTOMS that you shared in our stories? CS: A lot of photographs in the book are straight street photography style observations, so I basically just shot freely, like I do in any public space situation. Unlike a lot of countries in Europe, Romania seems more open to candid photography. As far as the conceptual mirror shots go, that came about by meeting people through the photography festival I attended and who were open to my ideas. There are a couple of exceptions where I just met people on the beach or in the town and they were willing to be part of the project. What’s interesting is when I share an image of a mirror shot from my phone, people become really intrigued and open up to the idea of being a subject. It helps that you do not see the person’s face so it allows for anonymity as well. TPL: Do you have a favourite quote/lyric/saying that resonates with you the best? CS: Yes I do! The quote is, “In the fields of observation chance favours only the prepared mind.” This was said by Louis Pasteur, the great French biologist, chemist and microbiologist. Even though he is referring to the process of scientific discovery it also applies to the art of photography. How do you prepare your photographic mind? You take classes, you read photo books, you study the masters, etc. Having all of this photographic history and knowledge in the back of your mind while you are out shooting helps you to better identify interesting situations and challenges, things you may miss if you don’t study this sort of background material. Once you get to this point, you can really start to develop your own unique visual identity or voice. Just the ability to create what I want to create, whether successful or not, is what keeps me going and still excites me to this day. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? CS: A lot of what I am trying to express is really dependent on the project or goal. For example “Old Customs” is partly about expressing the feeling of freedom. However, there are numerous photographic tropes and elements that I often return to or explore. One of these is trying to have the viewer feel as if they too are in the midst of the action. I like to get close and I want the viewer to be part of it. Another is humour, I am a sucker for visual puns and juxtapositions. I think gestures can be very telling. And light is very important. I always try to consider the role and meaning of light (or lack of it) in my images to convey a feeling or an intentional interpretation I want to bestow on the viewer. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CS: I am inspired by many different photographers and artists, from Lee Friedlander and Dawoud Bey to Barbara Kruger and Jeff Wall. All of them have opened my eyes to different approaches and techniques. I often “borrow” or reinterpret ideas from various photographers from time to time depending on my end goals. For my black and white work I am definitely inspired by people like Weegee, Anders Petersen, Larry Fink, Daido Moriyama, and Robert Frank. In my colour work I often look to folks like Joel Sternfeld, Alex Webb, Harry Gruyaert and Ryan McGinley. TPL: Has your style of shooting changed since you first started? CS: I don’t know if it has changed as much as it has been refined. I first gained notice as a music photographer, then as a street photographer and documentarian. I have since moved on to personal diary type work and I am now exploring ideas of conceptual work. I think all of these genres or styles for me still contain the principal elements of my photographic voice. They just get adapted to the genre I am shooting in. If you study the work of Lee Friedlander you will notice his particular viewpoint weaves itself through a wide variety of styles, from street photography to landscapes and nudes. The same holds true for numerous other photographers that have had a long and varied career. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? CS: I have two cameras that I have stuck with throughout the years, mainly for their form and image quality. I have a Leica MP and Ricoh GR II. And, I usually stick with a 35mm or 28mm focal length depending on what I am shooting. Both the Leica and Ricoh are unassuming cameras. I always use my Leica during the day and sometimes at night when I know I am going to be shooting something with purpose. The Ricoh I often take with me at night when I have no real plans. It’s just super handy and can produce fantastic images with the on camera flash aesthetic you see in a lot of Japanese street photography and fashion photography from the 90s and 2000s. As far as focal length goes I use the 35mm during the day and the 28 mm for when I am in close quarters and want to capture as much of the scene as possible. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? CS: Once the COVID-19 nightmare is over I’d like to return to shooting and travelling more. This has really been a tough year for me photographically as all of my work involves people. I have been thinking about what I’d like to explore and I have some ideas of what I’d like to pursue. But for now my main goal is working on this current books project. I hope the ground work that I am laying in 2020 with these publications will offer me more opportunities in the future for exhibits, travel and workshops. I also have a few more book ideas that I already have content for. So essentially in five years I hope to be doing more of the same while broadening my photographic practices. TPL: “When I am not out photographing, I (like to)… CS: I love cooking so I am always working on new recipe ideas and food combinations. I also enjoy playing music with friends and neighbours. And, I am a fitness freak to some extent. I exercise almost everyday, whether running or lifting weights." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

THE BIGGER PICTURE To Stefan Hellweger, human presence in photos adds interest, and he enjoys walking about the streets of his home town and documenting life. THE BIGGER PICTURE July 3, 2020 INTERVIEW PHOTOGRAPHY Stefan Hellweger INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photographer Stefan Hellweger finds inspiration in art, science, music, and the photography of others. He thinks that having a personal or emotional connection to a scene or subject helps to get good pictures, if you can translate that emotion into your photographs. To Stefan, human presence in photos adds interest, and he mostly enjoys walking about the streets of his home town and documenting life. Beyond that, content is important to him, and he seeks to use his photography to draw attention to particular causes or issues. If your pictures are not good enough you weren't close enough. - Robert Capa “This might be the most quintessential quote for everybody in street and documentary photography. Although I think it is often misunderstood. It is not only about physical closeness (which is a good thing in these genres) but being closely related to the scene and the atmosphere you are about to show in your photographs.” IN CONVERSATION WITH STEFAN HELLWEGER TPL: Stefan, when did you start getting interested in photography? SH: Like probably many I was taking pictures of traveling, parties, family events and so on all my life. First with analog film cameras, later digital but always in auto mode. The passion grew when I bought my first camera with easy access to all the basic settings for exposure, a Fujifilm X-M1. It was very soon when I realized two things. First, almost every shot gets instantly more interesting if it shows some kind of human presence. Second, learn how to use every camera setting to your benefit and read as much as you can about composition. TPL: Where do you find your inspiration? SH: In art, science, music, other photographers...Pretty much everything that surrounds me in daily life. To name one thing specifically, maybe news. When reading newspapers or seeing the news on TV or the internet I often ask myself what moments I would like to capture if I were there. TPL: Do you have a favourite genre of photography? SH: Definitely street photography and documentary photography. But although I am really not good at it, I also enjoy seeing good landscape photography, which is quite hard to find in my opinion. TPL: Has your style of photographing changed since you first started? SH: When I started doing street photography I was scared as hell to get too near to my subjects. I accepted that it is part of the game to be near the people you are taking pictures of, and so I got closer and closer. Meanwhile I try to take a step back again and get more of the context into the frame as well. TPL: Do you have a favourite place(s) to photograph? SH: Not in particular. I think you can take great pictures almost anywhere. Just make the best of it. Even if you hate a place. Hate is a strong emotion. Use it in your photography and show the viewer why you hate that place. TPL: Do you prefer to photograph alone or with friends? SH: That depends on my mood. I love going out shooting with one or two friends, usually from the Munich Street Collective. But there are also times when I have to put my headphones on and roam around on my own. Almost every shot gets instantly more interesting if it shows some kind of human presence. TPL: Often you focus really closely on people in your street photography. How do you go about it? SH: Actually it is just something you have to get used to. A lot of people won't even realize that you are taking pictures of them when you are that close. TPL: Do you have a preferred lens/focal length? SH: Definitely 35mm, in my case, as a Fuji shooter the Fujinon XF 23mm f2.0 TPL: There are so many different rules about what you can and cannot photograph in different countries. Are you ever worried about legal issues when taking street photos in Germany? How do you deal with it? SH: I try to simply not care about it. I never got in any trouble, and even if people don't want to have their picture taken you can still delete it. TPL: What characteristics do you think you need to become a 'good' photographer? Any tips or advice for someone just starting out? SH: Patience and persistence. It can be a little bit frustrating walking around in a city for a whole day and not to get even one good shot, but that's just part of the game. Then there will be days when you get one shot after another. Try to find your flow with some "easy" shots like silhouettes and work your way up from there. And try to stick with the classic focal lengths for street photography between 28mm and 50mm. When starting out it is tempting to use a telephoto lens, but it is actually quite hard to take good photographs with long focal lengths in this genre, most shots will just look like you are a creep. TPL: Are there any special projects you are currently working on? SH: I'm thinking about how I could help the Black Lives Matter movement with photography. TPL: “When I am not out photographing, I (like to)… SH: Love being outdoors with my dog, thinking about this and that.” PORTFOLIO INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

RELICS FROM THE PAST Philip Butler documents the architecture of urban spaces in the United Kingdom, often with a focus on relics from the past. RELICS FROM THE PAST November 13, 2020 INTERVIEW PHOTOGRAPHY Philip Butler INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Philip Butler grew up on the south coast of England and is now living in Malvern, Worcestershire. He began shooting with his father's analogue camera, but moved on to digital photography in 2016, when he began documenting the remaining Art Deco architecture in the UK. His is most interested in architecture photography and a wide angle view of urban spaces. Philip has also had a long-standing fascination with low-light photography and capturing urban scenes after dark. Although the photographs he shares are devoid of people, signs of life are often present in the things people leave behind or the lights they leave on. Philip’s photographs have been published in a number of different magazines and newspapers, including C20 Magazine, RPS Journal, La Vanguardia, Digital Camera, The Modernist and The Guardian. “Discovering the joy of DSLRs in 2016, I started documenting surviving 1930s Art Deco architecture in the UK. I’ve always been captivated by the progressive buildings of the inter-war years. The architects at the forefront of the Modernist movement took such a huge leap in both concept and aesthetics, and their designs have really stood the test of time. However, it became apparent to me at this time that many fine examples had long since been demolished, while others were in poor states of repair. Documenting them with my camera quickly became a project that felt both important and rewarding. This resulted in my 2019 book 'Odeon Relics'.” IN CONVERSATION WITH PHILIP BUTLER TPL: Philip, please tell us about yourself. How did you become interested in photography? PB: I was born in Devon but grew up on a farm near Hastings on the south coast of England. I’ve moved around a fair bit but settled in Malvern Worcestershire about 15 years ago. I developed an interest in photography as a child. I’d try to capture anything from life on the farm to dioramas of my toys (which inevitably came back from TruPrint totally out of focus!). When I left home for university, my dad who had a brief fling with amateur photography, trusted me with his Olympus OL1 and a bag of lenses. Studying in Derby, I spent many happy weekends out in the Peak District trying to capture dramatic scenes of steep gradients and uncompromising rock landscapes on 35mm film. TPL: Where do you find your inspiration? PB: It depends on the project. My most recent series Small Hours was inspired by cinematography and music created at night. Both filled me with a with a desire to distil and capture the atmosphere after dark with my camera. Inspiration can come from a number of different places though, sometimes without any obvious link. Witnessing the artistic achievements of others often motivates me to get the camera out or plan my next photographic excursion. TPL: Do you have a favourite place(s) to photograph? PB: When it comes to the architectural documentary projects I usually occupy myself with, London is always high on my list. The number of surviving structures and ease at which I can transport myself around the city always make for a fruitful day’s shooting. Elmdon Building, Birmingham Airport. © Philip Butler Boston Manor (from the ongoing Underground project). © Philip Butler TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? PB: I guess the answer would depend on which project we’re talking about. With the 1930s architecture, it is fired by a desire to highlight both how progressive these buildings were in their time, and to draw attention to the neglect and decay that has so often marred their appearance over the decades. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PB: The documentary side of my photography is heavily influenced by architectural photographers of the past such as John Maltby and the work of Bernd and Hilla Becher. The need to capture and document the buildings accurately without fuss. However, I’m also a low light-photography fanatic and find myself drawn to contemporary colour photographers working on similar projects. My 'Odeon Relics' book was inspired partly by Will Scott’s Seaside Shelters project. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? PB: I’m not that interested in equipment, just so long as I have the right tool for the job. My current camera is a Canon 6DII. I primarily shoot on a tripod with a geared head and 24mm tilt shift lens. Even when shooting handheld 24mm is my preferred focal length. I’m fond of creating a widescreen urban landscape in my shots. Individual details don’t often interest me that much. TPL: When you go out on the streets, do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both? PB: Both, depending on the project. The architectural shots are quite rigid. I have usually scoped the location in advance on Streetview and checked the position of the sun in advance. As such, I’ll know exactly where I’m going to stand to create the shot. Of course, I’ll often take some other angles while I’m there, but 9 times out of 10 I’ll end up using my pre-planned angle. Other projects like 'Small Hours' are completely the opposite. Spontaneous outings to see what I can capture. TPL: Have you ever been involved in the arts before photography? PB: For about 15 years music was my main creative outlet, but the novelty wore off as I reached 30 and my interest in photography drew to the fore. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? PB: I hope to continue along the same lines as the past few years, expanding the ongoing catalogue of 30s buildings while experimenting with other, looser personal projects on the side. I hope to continue publishing the occasional book of my work too, as that’s always a very enjoyable experience. Monks Lane Filling Station (from Filling Station Closed). © Philip Butler Former Odeon cinema, Leicester (from Odeon Relics book). © Philip Butler TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PB: Until Covid-19 hit I was working simultaneously on two projects. One entitled FILLING STATION CLOSED looking at pre-war garages and filling stations, the other focusing on London Underground stations from 1920-1950. Both have been put on hold for now, but I hope to pick them up again next year. TPL: "When I am not out photographing, I (like to)… PB: Spend time with my family. I have a wife and two young daughters. We try to make the most of the rural location we’re in, walking and enjoying the great outdoors. I also have a 1976 Mercedes-Benz. So occasionally I’m found covered in oil, wielding a spanner and shouting obscenities at something or other!" PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

THE SPIRIT OF A PLACE Ulka Chauhan is somewhat of a wanderer. Always on the go to wherever personal and photography travel takes her, capturing the essence of each place. THE SPIRIT OF A PLACE January 15, 2021 INTERVIEW PHOTOGRAPHY Ulka Chauhan INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Indian photographer Ulka Chauhan is somewhat of a wanderer. Always on the go to wherever personal and photography travel takes her. Her love for the medium began in the 80s when her dad gifted her a red Olympus camera. Having rediscovered her love for photography, Ulka has travelled to various cities and villages in India to capture the spirit of each place. But instead, has been captured by the intensity of the people. Her work has been exhibited at the Meraki exhibition held at the Nine Fish Art Gallery in Mumbai in 2019. In the current pandemic times, her explorations are of candid moments on the streets of Mumbai, London and Zurich. “Through my street work, I hope to inspire people to see the extraordinary in all the ordinary moments that take place in our backyards. And through my documentary work, I hope to spark conversations about topics that interest me. I like the human element in my work. Sometimes it is the silhouette of a person. But more often than that, I like to get close to my subjects and try to capture their expressions and emotions.” IN CONVERSATION WITH ULKA CHAUHAN THE PICTORIAL LIST: Ulka, please tell us about yourself. How did you become interested in photography? ULKA CHAUHAN: Originally from India, I have lived in Bombay, Boston, New York, Cape Town and Zurich; and currently divide my time between Bombay and Zurich. My love for photography began in the early 80s when my dad gifted me a red Olympus camera. I was down with chickenpox and was in home quarantine, but I enthusiastically photographed everything in sight. Since then, a camera has been my constant companion over the years. But about a year and half ago, I had a turning point when I went on a photo tour to Masai Mara. It was there in the vast open plains of Africa that I got bitten by the photography bug. I love photography because it has helped me find my voice. It has been a refuge for me during difficult times and a safe space to explore a multitude of emotions of motherhood, conflict, hope, love, isolation, and resilience. TPL: Where do you find your inspiration? UC: Apart from the inspiration I find online, I love looking at photo books. I have a small but growing collection of them. I also love connecting with the photography community. I get a lot of ideas from speaking with my peers and mentors. I am also fascinated by the art world. I love going to galleries and museums so that to me is a tremendous source of inspiration. My other source of inspiration is closer to home, my mother and my two daughters. They are not only my biggest fans but also my toughest critics. I learn a lot from their honest and unfiltered feedback. TPL: Do you have a favourite place to photograph? UC: I love being able to shoot in both India and Switzerland. Both these contrasting worlds - one of chaos, the other of calm - keep me motivated and inspired. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? UC: I started out loving Ansel Adams’ landscapes and Steve McCurry’s travel portraits. Then David Yarrow for wildlife and now Vivian Maier and Alex Webb, amongst many others for street photography. Two master Indian photographers whose work I look up to - Raghu Rai, who was a protégé of Henri Cartier Bresson. And Dayanita Singh whose work is in the permanent collection of Tate in London and MoMa in NY. Two master Swiss photographers whose work I absolutely admire are René Groebli and René Burri. Apart from the masters, I also look at contemporary photographers for ideas and inspiration. In the art world, I love the surrealism of Salvador Dali, realism of Edward Hopper and the pop art of Andy Warhol. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? UC: Yes I strongly believe that equipment plays a big role in your overall photography experience. I’ve always had an emotional connect with the Leica brand because my dad was a huge Leica fan and I came to acquire his last Leica camera. More recently, I bought the M10R. I use a 35mm and 28mm lens. This rangefinder system has changed the way I photograph. Being a completely manual system, it really forces me to slow down and shoot more mindfully, which I enjoy. I also really like the sense of community amongst the Leica photographers. All the Leica photographers I have connected with so far have been very friendly and supportive. The lens looks out to the world…it also looks within you. The photos I take are a reflection of who I am. TPL: What happens when you walk the streets with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? UC: When I’m out on the streets capturing candid moments, or even when I’m shooting environmental portraits, I sometimes come across people who do not want to be photographed. In this case, I try to explain the purpose of what I’m doing and I respect their wishes. But these negative reactions are seldom…I don’t take them personally and also don’t let it discourage me from photographing. TPL: Have you ever been involved in the artistic world before photography? UC: I worked in advertising on Madison Ave, NY. I was in the client management side of things and was the point of communication between the client and the art directors and rest of the creative team for the accounts that I worked on. I feel this has played a big role in developing my sense of aesthetic. TPL: You have a photo series on domestic workers in India, from which we have included a few photos here. Could you tell us how you came up with that idea? UC: My domestic workers series titled 'The Real Homemakers' is an ongoing project which evolved from a desire to document the inner workings of households in urban India. There are a lot of books, TV Series and Films about domestic help in the Edwardian Era in the UK and the Segregation Era in the US. While this system has diminished in most countries over the century, it survives and thrives in India even today. India’s affluent and middle class households are equipped with full-time staff and/or part-time help that keep the homes functioning like hotels. They perform a range of services from childcare, cooking, serving, dishwashing, cleaning, laundry, driving, gardening and guarding. They play such an integral role in the homes - they are in fact the real homemakers. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? UC: I hope to continually evolve as a photographer and to create work that is meaningful and touches others. I would like to reach others through publications and exhibitions. My dream is to publish a photo book of my work over time. I am also very fascinated by short documentary videos that have a combination of still and moving images as a medium for storytelling; and I am currently in the process of learning the basics of filmmaking. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? UC: I have an idea for a documentary project in Zurich which is still in the initial phase of conception. I’m currently working under the guidance of a Swiss reportage photographer to develop that further. I also have two documentary project ideas that I’m exploring with a Lisbon-London based photographer. TPL: When I am not out photographing, I (like to)… UC: I love going to galleries and museums. I love going to restaurants, cafes and bars. I love spending time with family and friends. I also enjoy connecting with other photographers. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

TELLING STORIES Melita Vangelatou wants to tell stories through her photography, immersing herself in her environment on foot and bicycle. TELLING STORIES November 20, 2020 INTERVIEW PHOTOGRAPHY Melita Vangelatou INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Greek photographer Melita Vangelatou was born in Alexandria and has moved around the world throughout her life. Currently based in Casablanca, Morocco, she enjoys documenting the cultures and lives of people around her, immersing herself in her environment on foot and by bicycle. She usually likes to get to know her subjects before taking their picture, and then prefers candid shots that respect her subjects. She wants to capture emotions and tell stories with her photography. Melita's work has been exhibited internationally and been published in photobooks. She spoke to us about what drives her passion for photography and how she approaches it. “Every country I have lived in had something different to offer, and I tried to get to know it through observing its customs and its people and studying its history. I feel privileged and enriched to have had this experience. Even though there is an emotional price to pay, I feel that what you gain far outweighs it. I now live in Morocco, which is the country I have lived longest in and I feel a close affinity to.” IN CONVERSATION WITH MELITA VANGELATOU THE PICTORIAL LIST: Melita please tell us about yourself. How did you become interested in photography? MELITA VANGELATOU: I am Greek, born and raised in Alexandria. My parents moved to Greece when I was a teenager and that is where I later met my husband, who is Greek, born and raised in Africa. Together we have lived in different countries and travelled extensively. Ever since I can remember I have loved photography. When we were in school, I used my brother's cameras, first a Yashica and then a Canon. He also had a darkroom in our basement where we would go and print. Later on in my life, after I studied photography, I had my own fully equipped darkroom. In school I was the class photographer. When I got married, my family, and my friends knew that I always had my camera with me. I loved taking family pictures, since it was a subject readily available, but at the same time pictures of the places where we lived and visited. TPL: Do you have a favourite quote or saying that especially resonates with you? MV: One quote that really resonates with me is Alfred Eisenstaedt’s: “It is more important to click with people than to click the shutter.” I always like to speak to people, to get to know them, to understand what they are doing and why and then to take a picture. I never take pictures that I feel will hurt people, even if I think that it is the best picture. On the island of Cephalonia, where I am right now, I love to take photos of fishermen. I spend time around them, asking them where they go fishing, if they go every day, year round, if they have a family and how hard it is. I know their names and they know mine, and this way they just ignore my camera when I am around them. I always end up by buying fish too! This island is famous for its Loggerhead turtles. I like following the researchers who walk around the island observing the turtles, taking them out of the water to measure them, inspect them and tag them. The other quote I like is Robert Kappa’s: "If your pictures are not good enough you are not close enough." The lens I have always used and still do is a 75 mm. I never use long telephotos because I always like getting close to my subject. There are endless quotes that I like and think about when I photograph, like Ansel Adams: "A good photograph is knowing where to stand." TPL: Where do you find your inspiration? Do you have a favourite place to photograph? MV: I like to shoot on the street, where there is a lot going on, so I find inspiration. I just shoot haphazardly in the beginning, and then I slowly get to know the country, and I look for specific things. In Morocco, for example I know my favourite places to shoot. I like shooting around the 'hammams' or the traditional bakers or in markets where there is a lot of activity. TPL: Tell us about your project 'Casablanca' you submitted to us. MV: Casablanca is where I live for most of the year, so obviously I am very interested in the city and its people. In order to be able to communicate with the people and understand them I start by learning the language. The inhabitants of Casablanca, the 'Casaoui' are very impressed and like it very much when you speak their language because it is a language spoken only in Morocco and very few foreigners try to master it. By speaking the language I break the first barrier. I can then move a step further and try understanding their traditions and customs. The fact that the weather is mild year round and that all activities take place out of doors is an extra bonus for me. The project 'Casablanca' is a very long one because I am studying a very complicated subject. So with the pandemic I narrowed down that project a bit to focus on 'Casablanca During the Pandemic'. By studying the 'Casaoui' during this state of lockdown, I could see more facets of their behavior, like how much they protect their children and how once the lockdown ended and the city was in a 'state of emergency' the rules had to be enforced because nobody observed them. TPL: These days, when we see scenes of people gathering together, the fear of the Covid-19 pandemic is always present in our minds. In what way are people in Morocco affected by it, and how did it affect your photography? MV: During lockdown everyone in Casablanca behaved and did exactly as they were told. Often there were police cars going around enforcing the rules primarily in working class districts and in shantytowns because people there live in the streets. They keep their doors open, sometimes covering them with a cloth so that they can go in and out easily. When lockdown ended, it was as though people were free to do whatever they wanted. The carts were out again selling goods and people swarmed around them, and gathered on the beaches, making things dangerous again. I still went out to photograph wearing a mask, but it became harder as I had to keep my distance from others. The fact that I am always on my bike with my camera makes it easier for me to take pictures. When I locate an area with interesting things happening, I just tie up my bike and walk around. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? MV: I always include people in my photography. I like capturing emotions and I like photos that tell a story. People who see my photos often tell me that they enjoy 'travelling' with me through my stories. I observe people, and when I foresee that something interesting is about to happen, I follow them. The anticipation excites me, and I don’t want them to see me for fear that my presence will make them change their behaviour. It is more important to click with people than to click the shutter. - Alfred Eisenstaedt TPL: Do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it a combination of both? MV: It is both. Sometimes I just take my camera and go out on the street hoping to find something that will grab my attention and I always do. When I am travelling somewhere I have a very general concept in mind, which is to capture the life there, but I also have sub-concepts about very specific aspects of the people’s lives. I am very interested in weddings and religious festivities and how they are celebrated in different countries. In Morocco, for example, the application of 'henna', which is a reddish brown dye used to decorate the body, is very important and is used to mark different stages in a woman’s life. One day I learned that a young girl that I knew would have henna designs applied to her hands and feet to celebrate the fact that she would be going to the notary public to sign her marriage certificate, in other words to get married. I accompanied her, together with her mother and grandmother that day, and I also was invited to her wedding celebration, where again I photographed the much more grandiose henna ceremony there. I am now waiting to photograph the henna ceremony at the birth of her child. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? MV: The photographers that I really admire are Henri Cartier-Bresson, Fan Ho, Robert Doisneau and Constantine Manos, a Greek photographer living in the United States. I look at their photography and hope to be influenced by their great style. I know that for them, framing and timing was extremely important, and for me these two elements are the essence of photography. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? MV: My first film camera was a small, manual Canon with a 75mm lens. Many years after I acquired two medium format Mamiya, where I added a panoramic adaptor on one, which gave me a format that few photographers used, so it was interesting. Still, every ten shots I had to change the film and I soon realised that these cameras were the worst choice for me. Apart from being bulky they slowed my street photography so much that I missed many shots. My brother offered me my first digital Canon and that is what drove me to stop using film and go into digital photography. In the beginning I found the images too sharp. Now I would never switch back to film. One day I told my husband that my dream had always been to own a Leica. He got me my first one for my birthday and from then on I have used only Leica cameras. The first thing I like about them is their size. Photographing in a country like Morocco, where people like to keep their privacy is easier with such an inconspicuous camera. Also it is simple and doesn’t have all the frills that other cameras possess, but that I never use. Of course the lenses have the best image quality and finally it is less bulky for when I am travelling. The lens I always use is a 75mm, that was actually always my preferred lens, which helps me in street photography as I don’t have to get extremely close to people. TPL: Have you been involved in the arts before or other than photography? MV: Photography was always my passion. I like all forms of art but have never been involved in any. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? MV: My goals are to continue exhibiting, I prefer museums, but there are other interesting venues too, and to make photography books. That is what I love doing and that is what I want to keep doing. I would also enjoy talking about photography and communicating my ideas, but I haven't seriously thought about where and how. TPL: "When I am not out photographing, I like to... MV: When I am not actually taking pictures there are still so many things around photography that I like doing. I read and look at photography and art books, I visit exhibitions and museums and also make photography books, both family and travel. I always liked sports and was a maniac tennis player. I have for some reason lost interest in tennis, but I now scuba dive, swim and bike wherever I have to go, always with my Jack Russell Zippy. This is my major form of exercise because in the countries where I live I can do it all year round. My family and extended family are very important to me and I love spending time with them." PORTFOLIO INSTAGRAM read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.

ON ASSIGNMENT Photojournalist Federico Quintana speaks to us about the conception of his projects and the issues at the heart of his work. ON ASSIGNMENT November 18, 2020 INTERVIEW PHOTOGRAPHY Federico Quintana INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Federico Quintana is a renowned photojournalist with a fascinating story. Born in Italy and living with an Argentinian passport due to his father's profession, Federico was drawn to photography from a young age as a way to capture memories that had a lasting impression on him. After studying journalism and photojournalism, he dedicated himself to exploring and documenting the lives of people worldwide, from salt and tin miners to remote indigenous tribes. His work has taken him across Patagonia, northern Argentina, and China; no matter where he goes, he always captures the essential stories of his subjects. In this exclusive interview for The Pictorial List, Federico shares his intriguing journey through Patagonia, Antarctica, and China and the conception of his projects, and the issues at the heart of his work. From his beginnings shooting in analog during the 90s to now shooting in digital, Federico has experienced a range of different styles and processes. Join us as we follow his journey and gain insight into his captivating work. “Places don’t really make the difference, it's all about going far and encountering people across the world or across the street and establishing a connection through the camera as a means of communication. That is what drives me I think...I am a storyteller, lazy in words faster with a camera. It’s the desire to convey one’s emotions and visual record.” IN CONVERSATION WITH FEDERICO QUINTANA THE PICTORIAL LIST: Federico please tell us about yourself. How did you become interested in photography? FEDERICO QUINTANA: I was born in Trieste, Italy in 1966. My mother was Austrian/Italian and my father was an Argentinian career diplomat. Because of my father’s line of work I received at the time only the Argentine passport. My father was stationed in Indonesia. There was great political instability, so my mother came to Italy temporarily. Shortly after, my father was transferred to Beirut, Lebanon and so was I, at three months of age. We stayed in Lebanon the first six years of my life and as a result my first language is French. From that point onward we continued to move around the world. It was two years in Moscow, two years in the Ivory Coast, back to Argentina under military regime and then Switzerland, when I was around eleven. I stayed in boarding school until the age of sixteen. My parents separated and my father returned to Argentina to follow his career while I ended up in Paris, France with my mother and finished my studies at the American High School of Paris. At nineteen I moved to Arizona where I had friends and worked in construction while studying computer science at a technical school in Phoenix. I was already photographing a lot at the time with my first camera, an old Canon FT that my father had given me a few years earlier. My AA degree in computer science was from an accelerated program that lasted one year instead of two but during that time I had met the owner of an Aerial Survey and Photography company who offered me a job if I wished to return. I also discovered that Arizona State University had one of the best Journalism Schools in the States in addition to being the only one offering a photojournalism emphasis program. I had at this time decided I wanted to become a war photographer, and at the same time I had also requested to the Italian government my birthright citizenship, so in response they called me back to Italy for military service. Because of my interest in war photography, I volunteered as Airborne and subsequently in Alpine Airborne Rangers 'Special Forces', as I wanted to get proper training for conflict situations. After finishing my military service I returned to Arizona for my B.A. in Journalism and Mass Communications and a Photojournalism emphasis. I worked my way through University with 'Landiscor Aerial Survey' in Phoenix, where I had every job available in the company at one point or another. Finally I returned to Italy for a short time before returning to the US to finish university and complete my degree. At this point I met the lady of my life who accompanied me back to Arizona for my last year and graduation. After this we married in Las Vegas, with only one condition on her behalf: “no war!” So would documentary work be okay, honey? Laura is of course still by my side. I wanted to move to Argentina and get to know my heritage... while growing up I had only lived there for two years and in the worst imaginable time of a military regime, which later culminated with the Falklands war. We moved to Argentina in 1996, and the first thing I did was to travel to the Falklands for my first documentary work attempt, this resulted in an important exhibition at a major university in Buenos Aires where I met the owner at the time, of Lugares magazine. I soon started contributing with them and my photographic career began. After a year I decided I really wanted more knowledge in photography and returned to the US, this time in Santa Barbara, Ca. at Brooks Institute of Photography. I wanted a Masters degree and they had accepted my enrolment for two years. After six months, I had started at Brooks, the owner of Lugares sold the magazine to Argentine Newspaper La Nacion but remained as director and editor of the magazine. She offered me a position as staff photographer if I would return, so of course I did. Lugares magazine is a high level travel magazine inspired by Condé Nast Traveller, but mainly dedicates its coverage to the Argentine territory, although it also encompasses many world destinations. They do two special editions at opposite times of the year, one in Patagonia and one on the North of Argentina. My first assignment as staff photographer for the magazine was the Patagonia edition. It lasted three weeks and Patagonia literally blew my mind and sunk in very deep. There are many similarities with Australia, so I think you might know what I mean. I just love the vastness, incredible beauty and intense loneliness you can experience in such places, it puts you in touch with yourself like nowhere else. I love the land, rivers glaciers and horses that play such an important role in that territory. I am also an avid fly fisherman and Patagonia never disappoints. In the year 2000 my son Matteo was about to be born and the situation in Argentina was very bad, a terrible crisis was driving people away from the country and my position in the magazine was difficult, as the management had changed and they were requesting the rights to my images, which I could not accept. During a trip to Europe I went to visit SIPA/ PRESS - IMAGE in Paris, and they proposed a collaboration that I accepted. TPL: Tell us about your first assignment to Patagonia? FQ: Before leaving Argentina, on a short assignment about grey whales in Peninsula Valdés, halfway down the Patagonian territory I discovered a story that would keep me returning to that point for the following three years. In the northern tip of this peninsula lives a pod of Orcas that have developed a very specific sea lion hunting technique by stranding on the beaches to capture their prey, but my focus was on the park ranger who had developed a means of communication with these supreme animals with the use of a harmonica. This has been my most important published work to date as it was featured in BBC Wildlife mag, which ran simultaneously with the major cinematography film production “The Blue Planet”. Animan magazine and many others also later published this work which was handled by Sipa during the times to follow. For the last year of the project I worked in stills and video because of the unique situation with the Orcas. My footage was later acquired by NGS Television for a documentary film. During the years of this project I realised Peninsula Valdés was directly on the opposite side in Patagonia from the Fitz Roy and Cerro Torre mountains in el Chaltén, and you could access the Continental Ice Field from there. This is the world's largest ice field beyond Antarctica and only a few hours drive from Puerto Valdés. So I tagged along a proper self sustained expedition covering a good portion of the ice field during a twelve day hike on the ice. In the end I left Argentina in the year 2000 and have been living in Italy ever since, but I kept my most important belonging there: my 1995 Toyota 4Runner, which has truly been a spaceship, going full length from Buenos Aires to Ushuaia at least 6 times throughout the years. It actually stayed in Ushuaia a full winter after the Antarctic expedition, as I had ran out of time and returned to Europe by plane. I recall calling the hotel that had kindly allowed me to use the parking lot, for information about my truck and for three months the reply was: "sorry we can’t see the vehicle under the snow"... I returned in the spring and drove the 3000 km back to Buenos Aires once more. TPL: Antarctica is on a many photographers' bucket list. Describe seeing it through your lens for the first time. What was your photographic process in your Antarctica series? FQ: The Antarctic assignment was for Lugares/Nacion, as they had proposed a book project on Patagonia with the images from all the assignments. The only missing territory was the Antarctic Peninsula, which in the time of Pangea when all the continents were attached was united to the tip of South America. So for this project in 2010, I drove from Buenos Aires to Ushuaia where I embarked The MV Ushuaia for a 12 day voyage to the Antarctic Peninsula. Travelling to Antarctica is only possible during the summer months as at the end of March when winter approaches, the ice pack forms so hard it will trap any ship to remain there until the following summer when it melts again. I was on the last trip of the year before this happens. At that point Antarctica is alienated from the world as no means of transportation can reach the continent safely. Antarctica is the coldest, farthest, most remote, most dangerous and most mysterious continent in the world. That was our intro, from our expedition leader the first day aboard the MV Ushuaia. The ship was not an ice breaker but the hull was specially reinforced for that purpose and the expedition was semi-scientific as we had wildlife and climate scientists onboard as well as a small group of fortunate passengers and the photographer... Although most assignment for the magazine where conducted together with a journalist, in this case I had to do both the writing and photography as there was only one spot available onboard. This was 2010 and the digital world of photography had already taken over the disappearing film, but the only digital camera I owned was an Epson RD-1, which accepted my Leica lenses, not very useful for Antarctica. My main working equipment at the time was a Nikon F5 and F100 along with 300mm and 600mm lenses used for the Orcas project and a couple of short and medium zooms. Lugares gave me, literally, all their last film stock, about 30 or 40 rolls of Kodak V100S and Fuji Provia 100. On my earlier Patagonia assignments it was always a mix of Nikon and Leica M6. Although Leica rangefinder M cameras have always been with me and my favourite photographic tool of all. They were in those years a complement to my gear as I was covering subjects that ranged from interior architecture with lots of artificial lighting to wildlife where rangefinders really don’t do too well. So because of my heavy weight gear in Antarctica the Leica’s remained at home. The project in Antarctica was the last of my film photography with Nikon and the real long lenses, I still use Nikon today in digital for specific assignments but only if I really have too. The long lenses were replaced in 2015 for Leica M9-P’ and M Monochrom, after putting them to use for world championships of high speed motorcycles for a couple of years. TPL: Do you have a favourite quote/lyric/saying that especially resonates with you? FQ: The only quote that often resonates in my head is not exactly very nice... especially if one doesn’t know why...It is from a play by W. Shakespeare: “No beast is so fierce that has no pity... But I am no beast and therefore have none”. In Patagonia I once saw an Orca capture a sea lion pup on the beach and drag it out to sea, clearly for an easier kill. As the pup struggled for his life when she let go, instead of killing it the Orca accompanied the pup back to the beach almost nursing it and stayed a little on the shoreline to see it climb out of the water safely. This event really blew my mind, I didn’t know such an apex predator could feel compassion, as that was exactly what it looked like. I wondered a lot about that and the perfect balance of things in nature. I also often compare human nature to this incredible act I had the privilege to witness. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? FQ: At the cost of sounding boring I surely would start by Henri Cartier Bresson and Robert Capa, who laid the guidelines for 21st century documentary and photojournalism in their respective genres. During the beginning of my professional career I was extremely influenced by the early work of Alex Webb in revolt stricken Haiti, 'Under a Grudging Sun' and later 'Amazon: From the Floodplains to the Clouds'. What makes it worthwhile is freezing the memory of the human encounter, which stays in an image and leaves a mark. Surroundings just establish the remoteness and humanity the similarities. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? FQ: My main cameras for personal projects have always been Leica. All cameras are just tools to achieve what a photographer needs and the Leica rangefinders are extremely special for documentary work. The greatest difference with all other cameras is the way they are in front of the photographer’s face. Leica M cameras only cover a very small portion of the face when manual focusing, this establishes very direct approach to the subject. You just don’t get to hide behind the camera like with a reflex camera... This always leads to a deep interaction with the subject and is almost always reflected in the images. Leica’s are also extremely quiet, discreet and small and the glass is not comparable to anything else around. Finally, they are just beautiful instruments no matter the year of production. I continue to work with the M9-P and Monochrom. I tried Fuji (xpro-2 and x100 (t and v) for a while and although truly wonderful cameras they don’t produce the rangefinder shooting experience obtained with a Leica M. It is not just a quality thing, it is a matter of how you move, frame, pre-focus, the Leica forces me to visualise the image before I shoot so I think and prepare better to be in the right place when something is going to happen. In short, I shoot a lot less and a generally a lot better. I am a slow changer so although my cameras are three generations behind the latest models, I am not letting go yet of the M9P’s and Monochrom. The M9 and MM have CCD sensors, which are different from anything ever produced and return very unique files with unequalled dynamic range and colours at base ISO. The sensors were also created by Kodak, for which I always had a preference, and these cameras reflect this very well. Although they are not perfect – white balance is often off and you can hardly push them beyond ISO 800, but that is more than enough for me. Although I have no plans to change I am always paying close attention to what the Leica masters are doing in Wetzlar. My preferred focal length has always been the 35mm Summicron, and I shoot mostly with my 20 year old version (IV) which I always find amazing. That would be my desert island choice:) Next I love the 21mm asph. Elmarit and also use the 50mm asph. Summilux, which always saves the shoot and can never fail. When I work seriously with Leica’s or when I travel, I always have two bodies and those three lenses, a very small flash and a remote trigger. I generally also take along the 90 Elmarit, just in case, but rarely use it. The coolest combination is one M9P and the Monochrom, it's like having a camera loaded with Tri-X and one with Kodak slide film. The Monochrom returns incredible B&W but most importantly forces me to think in B&W, and it really changes the approach when shooting without the choice. Photojournalism, street, and documentary photography are all related in the approach which ultimately leads to strong images when there is human interaction involved. So in those fields, your behaviour and how you move and interact with people are the more important aspect and skills necessary, because they will create trust and confidence, allowing the photographer to shoot freely and move faster when it counts. This process also always has room for improvement as it has to do with all the actions you take in life. It’s about communications skills throughout the photographic process. So as far as tools go this is really it for me but I am also image quality obsessed and completely fascinated with last state of the art M10-R, but not yet! TPL: Are there any books that you have read that have inspired your creativity and that you would like to recommend to us? FQ: One of the most amazing stories and books ever, is the story of British explorer Ernest Shackleton who got trapped two winters in a row with an 80 men crew and managed to keep them alive and in good spirits without any human loss. An absolutely incredible human endeavour and adventure to save their lives. All recorded on large format camera by a great Australian photographer...I highly recommend this book 'Trial by Ice: A Photobiography of Sir Ernest Shackleton' about human courage and great adventure. I love several photographers from National Geographic as well, but one in particular just was so cool that when I received the magazine, the first thing I would do is look for his name to see if he was inside....David Alan Harvey...he just was and still is fantastic, a true light chaser and amazing story teller with a flair and the most incredible visual acuity. I learned from his photography to “dare” and go beyond my shyness when approaching people shots. I learned that the image comes before all to a photographer and you can’t hold back, ever. If you want it you have to go get it! I learned from David that the great shots are always one step further than you think and always on the edge of failing! Any of his books are highly recommended. But indisputably the most incredible photographer and man of all, must be Sebastiao Salgado, in the footsteps of Bresson. Salgado’s photography, humanity and sacrifice in life for this art form, goes beyond words, he might just be the best in the world. I was very lucky to run into these guys in life at some point or another. Sebastiao Salgado showed up in Peninsula Valdés when I was shooting Orcas. He was working on a 5 year project for UNESCO, which encompasses this area in their protected territories. From Salgado anything... but early 'Terra', definitely gave me a lesson at the time. In the year 2000 I met David Alan Harvey in Perpignan while attending “Visa pour l’Image”, as he was signing my copy of his book, 'Cuba' and recently in Puerto Rico for one of his workshops. His last book, 'Off for a Family Drive', is just absolutely fabulous, downright to the awesome smelling black organic paper. It is a spread out collection across the years...superb. The same goes for James Nachtwey as far as war is concerned, in direct lineage with Capa. He is just incomparable in the world of war photography his images are just poignant. I could list books from these photographers but really, anything you see that comes out from their cameras is bound to be a masterpiece. James was present at a casual dinner in NYC with friends in common, I was so surprised. I thought he was a fake... It is funny how life seems to consider a person’s dreams, sometimes... Bruce Davidson as one of my all time favourite photographers who although truly known for his extensive bodies of work with New York gangs in the 50’s and 60’s and what absolutely blows my mind is his more rare color photography. 'Survey' would be a good one in B&W. TPL: You also shared a series of photographs from China with us. Describe your time there. FQ: My work in China has always been personal and therefore shot with my most natural and true vision about photography. I started travelling to China on my own in 1998 on a freelance self assignment to photograph a cultural worldwide event where China opened the doors to the Forbidden City, featuring Puccini’s Turandot Opera. This event had monumental proportions with Zubhin Metha as conductor and produced by Zhang Yimou. I had managed to get accredited at the Hilton international press room, but most importantly about the image process I decided to shoot with Leica M6 cameras and Kodachrome film. Consequently I stayed three months in China documenting, in Xi’an, Guilin, Shanghai Beijing, Li River and so forth. From the start I was very interested in the juxtaposition of the highly modern developing China and extremely rural and antique culture, even in the urban environment, spread over a period of 20 years, both with digital and analogue images. To me this work is about reflecting the way I saw through my lens then and now, while attempting to create a balance between the modern medium and the old. In recent years I travelled throughout China on corporate assignments and shooting in parallel on my own. To me these images show my nature and approach to documentary and street photography but also the changes in time and the things I can improve. What I mean, is that I’ve been searching for this colour combination and shooting style in the digital world but also kind of picking up from the best of my documentary photography from those years by applying it to what I am doing now, as a means to pave the direction in which I want to continue. The Leica M6 combination was to me the ultimate as I had a passion for the ISO 64 Kodachrome, which was so picky in exposure and had a mild magenta shift, so difficult but so good at the same time if the light was right and there was something red in the image. The equally loved (low light) Kodachrome 200 was grainy but also so sharp and with a slight shift to orange. After all they were the favourite and most used film ever at National Geographic, and both had a very specific and unique fingerprint. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? FQ: At this time I am trying to consolidate my old images in perspective with more recent work, eventually I plan to make books out of a rather large archive of images. At the same time, the thirst for shooting is stronger than ever and I want to up the level of my photography. I am also considering to try and find a photo agency for future collaborations. I feel I still have a long way to go and my approach is constantly changing, it is time I apply the experience gathered for something that is really me/mine from my soul, again. TPL: What is next for you? Are there any ideas or special projects you are currently working on that you would like to let everyone know about? FQ: I am searching for a meaningful project of human interest to follow deeply and am considering a story with Gauchos in Northern Argentina at this time (Covid permitting...). But really anything that comes up and will keep me shooting! TPL: “When I am not out photographing, I (like to)... FQ: I have many interests in life (other than photography) and they have changed several times throughout the years. At present, if I am not shooting, it’s certainly because I am sitting on my very loved Harley Davidson, shooting American traditional archery or Fly Fishing somewhere far, possibly in salt water or simply with Laura, Matteo and my super terrible German Terrier, Athena.” PORTFOLIO INSTAGRAM FACEBOOK read more interviews >>> MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. 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.