PICTORIAL STORY WHERE THE WAVES MEET THE OCEAN Uma Muthuraaman explores the idea of finding in ourselves what we seek in other people and places — like waves searching for the ocean, being it, and not knowing it. August 6th, 2023 PICTORIAL STORY photography UMA MUTHURAAMAN story UMA MUTHURAAMAN introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Welcome to the world of Uma Muthuraaman, an Indian-born photographer, writer, brand strategist and mother based in Zurich. She has a special talent for capturing the forever in the fleeting and the magnificence of the mundane, telling stories with wit and wisdom. Her captivating photos take us on a journey through her Asian roots, Indo-European experiences and her vast globetrotting. Uma has a deep understanding of business, analytics, and creativity, having worked in India, Singapore, and Germany in product communication, creative ideation, conceptualization, and storytelling. She is passionate about social projects which she calls, “heart work (because they tug at my heart and fill me with a sense of purpose)” — volunteering for social causes like homeless animal adoption via the Blue Cross of India in Chennai, literacy projects in rural India, and teaching meditation breath workshop on the weekends. Her ongoing project Where the Waves Meet the Ocean began on her last trip to Chennai, India, where she was born and raised. With this series, Uma invites us to experience the unique patterns of a place and look at our surroundings with full awareness. Through this project, she explores the idea of finding in ourselves what we seek in other people and places — like waves searching for the ocean, being it, and not knowing it. We invite you to join Uma on this journey of exploration and self-discovery. Set aside your digital devices, pause in the present moment, and let her captivating photos take you away. Travel, for me, is a state of mind and photography - an open eye meditation. I travel every second, and every journey is transformative. In some journeys, I sit still; in some others, I move, often with a camera. Every time the shutter releases, the past and the future blur, enhancing the present – bringing into focus what I would typically miss with a screen in front of me. The photos in this series are a collection of seemingly unexciting moments - mundane moments, as we say. But for me, these moments hold immense wisdom. In the fleeting, there’s a forever; In the mundane, there's magnificence. This series Where the Waves Meet the Ocean is an ongoing project. It started in my last trip to Chennai, India - where I was born and raised. Having lived two decades in Europe, I return home every year with a new inner eye. I see patterns that are ubiquitous yet very characteristic of a place and its people. I see stories I would have missed if I were looking at my phone - stories worth telling and rewriting from a new perspective. The camera allows for a natural digital detox bringing me to the present moment. In a fleeting second, I realise I am the wave looking for the ocean. We experience wellbeing in the analogue life - not digital, yet we tend to seek it digitally when we are not aware. Like the waves searching for the ocean - being it and not knowing it. This realisation sparked an inner journey that led to this photo series. 'Saltwater' © Uma Muthuraaman 'State of the Art' - Sorry, I haven't texted you back. © Uma Muthuraaman 'Hustler' - I have another meeting starting now. © Uma Muthuraaman 'This Minute' - While you were on your phone. © Uma Muthuraaman 'Unfettered' - Little drops on the sandy shore unfettered by the endless horizon. © Uma Muthuraaman 'Time and Tide' - Will you wait for me? © Uma Muthuraaman 'Who's Watching' © Uma Muthuraaman Uma Muthuraaman is a truly inspiring individual who brings the world closer together through her captivating photos and stories. Her ongoing project Where the Waves Meet the Ocean is an incredible journey of exploration and mindfulness. Uma encourages us to put away our digital devices, be in the present moment, and explore the unique patterns and stories of a place with a new perspective. Through her work, we can find well-being in the analog life and experience how the mundane holds immense wisdom. We invite you to explore more of Uma’s work by using the links below. view Uma's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

JOURNEY OF FREEDOM After two years of stagnation and a few lockdowns due to the Covid pandemic, Gabi Ben Avraham went to the United States for a family visit in September. JOURNEY OF FREEDOM December 10, 2021 INTERVIEW PHOTOGRAPHY Gabi Ben Avraham INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For ardent street photographers, the world around them is like a feature film: a never ending story with frames that are just waiting to be captured. Gabi Ben Avraham, a passionate street photographer, is no exception. Through the lens of his camera, he finds beauty in the overlooked and mundane. His images are thoughtfully composed with each element carefully chosen to create a dialogue of its own - be it with color, shape or light. The Covid pandemic brought with it a period of stagnation and lockdowns, making Gabi’s recent trip to the United States even more special. His series JOURNEY OF FREEDOM speaks volumes of the joy he found in being granted the freedom to explore a new place and capture it in his own way. The images depict the forgotten people in urban surroundings, their fragile outlines and the beauty of their daily lives which are often crushed by the hustle and bustle of the city. In this interview, we take a look at Gabi Ben Avraham and his journey of street photography. Join us as we explore how his camera has become an integral part of him, and get a glimpse into his journey of freedom. “After two years of stagnation and a few lockdowns due to covid-19, I went to the USA on a family visit. I felt like a bird who finally flew out of its cage! The series depicts that wonderful feeling of freedom and expresses in a surrealistic manner the emotions of the people who went through covid-19, each of them in his own way.” IN CONVERSATION WITH GABI BEN AVRAHAM THE PICTORIAL LIST: Gabi please tell us about yourself. How did you become interested in photography? GABI BEN AVRAHAM: I am a 61 year old Israeli photographer. I was born and still live in Tel Aviv and work in a software company. After flirting with an initial fascination with photography and film cameras in the 1980s, I went on to pursue a career as an IT manager and put my love for the still image aside. Fortunately, my interest never disappeared. While the passion lay dormant for decades, all it took was the gift of a camera from my wife to awaken my inclination towards photography again. TPL: What does street photography mean to you? Describe your style. GBA: The Street is not a Studio. Sometimes I stand and wait for things to converge – a cyclist, a dancer, a child – moving along. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. Everywhere I go I take it with me thinking ‘maybe today will be my lucky day and I will take the photo of my life’. Via the camera lens I am constantly looking around me, searching for that ‘decisive’ moment that will never return, unless I catch it. When pushing the button, I try to make some sense, restore order to the chaotic scheme of things in the composition, tell the story behind the scene and frame a surrealistic moment. The components 'speak' with each other in a special dialogue, either by color, shape, or light. Capturing the elusive, special moment after which things will never be the same and making it eternal – that is my goal. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? GBA: When I visited Cuba, I was invited to a home and after a moment found myself surrounded by pigs. Maybe the word 'surprising'; is better to express what I felt. At first I was alarmed but eventually the whole situation was amusing. I like to observe people in religious ceremonies and festivals. I wait for the right surrealistic moment which will take things out of context and make them special. TPL: When you are out photographing - how much of it is instinctual versus planned? GBA: Both. I choose the background and wait for things to emerge. This is a long process. At a single click, I try to fill the insignificance around me with significance and create a private and intimate hallucination in order to share it with the viewer. Even though the moment fades, it is burnt in the memory of the viewer. Like a fisherman who goes to his daily work without knowing what he will catch, I take my camera and dive into the streets without knowing what will happen five minutes later. It is an adventure. When I click I try to see the surreal and to sort things out of their everyday meaning and their usual context. I have my favorite places and I never come with the same photos. It is always different: the people, the light and shadows, the atmosphere. TPL: What are some tips or advice you would give yourself if you started street photography all over again? GBA: Try to build your own style. Exercise a lot with the camera. Find your own Master and be open to critics. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GBA: I am inspired especially by Henri Cartier Bresson as well as Sebastião Salgado for their black and white images and by Alex Webb, Harry Gruyaert and Nikos Economopoulos for their fantastic work with surreal composition and great colors, and by many more talented photographers. 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? GBA: In general I believe that the equipment is just a tool so it doesn't really matter. As for myself I am using Fuji XT-3 usually with 18 mm (27mm) prime lens and sometimes Fuji 23mm (35mm) prime lens, because the camera is small, light and does not draw attention. I enjoy shooting with wide lenses which enable me to build a full story in the frame. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GBA: I want to continue travelling in the world and look for new locations to shoot. Let's hope that covid-19 will end soon so we can move freely around the world and I can do some serious projects, for example India. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? GBA: I want to have more exhibitions and work on a book which will depict my work. TPL: When I am not out photographing, I (like to)… GBA: Have some drinks with my friends, watch TV, go through some photographic books and listen to music. In short I like to enjoy life. Gabi Ben Avraham is a master of street photography, capturing the beauty in the overlooked and mundane. His recent trip to the United States showcases his talent in perfectly composed images that depict the forgotten people of urban surroundings. His series speaks volumes of the joy he found in being granted the freedom to explore and see the world through his camera lens. If you are looking for stunning shots of everyday life, Gabi's photography is worth a look. To see more of Gabi's work, follow his Instagram page and visit his website. VIEW GABI'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

I was born in Italy and have spent most of my adult life in the United Kingdom. I am an academic economist by profession and a self-taught photographer. My background in the social sciences has likely influenced my photography. A lot of what I do is street photography, and I am interested in how we interact with our environment and how it shapes and is shaped by our activities. However, by and large, I do not follow a documentary approach; for me selecting a portion of the world through the viewfinder goes well beyond trying to capture a fragment of reality. I am moved by the subtle poetry of small, insignificant moments of the life around us and the tension they reflect between what is universal in the human condition and the specificities of time and place. I think that the ‘existential’ that transpires from what we see in the streets the world over is best captured by B&W photography, which I favour. CATIA MONTAGNA I was born in Italy and have spent most of my adult life in the United Kingdom. I am an academic economist by profession and a self-taught photographer. My background in the social sciences has likely influenced my photography. A lot of what I do is street photography, and I am interested in how we interact with our environment and how it shapes and is shaped by our activities. However, by and large, I do not follow a documentary approach; for me selecting a portion of the world through the viewfinder goes well beyond trying to capture a fragment of reality. I am moved by the subtle poetry of small, insignificant moments of the life around us and the tension they reflect between what is universal in the human condition and the specificities of time and place. I think that the ‘existential’ that transpires from what we see in the streets the world over is best captured by B&W photography, which I favour. LOCATION SCOTLAND/ITALY CAMERA/S Fujifilm X Series, Pentax MZ3 WEBSITE http://www.catia3690.com/ @CATIA3690 @CATIA3690 FEATURES // Parallel Realities Peripheral Places

PICTORIAL STORY CASABLANCA NOW November 20, 2020 PICTORIAL STORY Photography and story by Melita Maria Vangelatou Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Melita Vangelatou has loved photography since childhood; in school she was the class photographer. Born and raised in Alexandria in Greece, she has lived and travelled in several different countries. She studied psychology and later photography. Her photographic work has been exhibited in her home country Greece and in Morocco, and she has published her work in several books. Her latest book, Casablanca , was published for the exhibition of the same name at the Benaki Museum of Islamic Art in Athens. In Casablanca, Melita belongs to the association Casamemoire, which was created to safeguard Casablanca’s heritage. In a photographic project to document the city's architecture with UNESCO World Heritage Site status, Melita tried to include pictures of people in the architectural photos as much as possible, gaining praise from the UNESCO committee for it. For The Pictorial List, Melita shared her story about Casablanca's people and their customs during the COVID-19 pandemic. We call her story Casablanca Now , because, although the customs she describes are timeless, the photos with people wearing masks contextualise Melita's story into the present year. I feel privileged and enriched by the experience of living in different countries even though there is always an emotional price to pay. We now live in Morocco, which is the country I have lived longer in and feel a close affinity to. Casablanca, where I live, is a modern, cosmopolitan city. It is Morocco’s largest city and its second biggest port. It has wide avenues and high-rise buildings. Casablanca's growth from a village to an international metropolis in the beginning of the twentieth century could not have happened without the influx of villagers who came to work as labourers and builders. These people conglomerated in shantytowns and working-class districts, where they lived in accordance with the same traditions they had in the villages they came from. I am interested in their way of life and try to capture their customs. I find it very captivating to see Moroccans wear their traditional dress, ‘djellaba’ and shoes, ‘babouch’, something that has been lost in most Western countries. Even though the djellaba is worn on an everyday basis in the working class districts, any dress code is accepted. In one of my photographs a young girl wearing a djellaba is conversing with her bestie wearing a bikini. In these areas people shop from outdoor bazaars, which are busy and noisy places with multiple smells and aromas emanating from the spices and finger food sold in abundance. The street sellers drag their wares in huge bundles or on carts to display them on the pavement. Apart from food, everything else is sold in these bazaars, clothes, toys and kitchen wares. Mothers have their children with them all the time. They have nowhere to leave the children, babysitters are non-existent, and the grandmothers stay behind in the villages where the family came from. The children know they have no alternative, so they are very obedient and well behaved around their parents. There are two flamboyant personages that are an integral part of these areas, the water seller, ‘Guerrab’, and the performers, ‘Gnawa’. In big crowds the suppliers of water, Guerrab, stand out because of their traditional bright red clothing and Berber wide brimmed hat with colourful pom poms. They have shallow brass cups strapped to their chest and a goatskin water bag dangling from their waist. They tend their cup to passersby inducing them to buy water. During the Pandemic nobody dares buy water to drink from communal cups. The Guerrab now still tend their cups, empty this time, supplicating for some coins from passersby. Everyone responds willingly to their begging, as they understand their plight. The Gnawa wear hats covered with cowrie shells ending in a long tassel, that they sway back and forth as they dance to the rhythm of their ‘krakebs’ (a kind of castanet). The Berbers brought the Gnawa as slaves from Sub-Saharan Africa. Slavery was abolished in 1923, and the Gnawa were converted to Islam, but they still continue their spiritual dances of possession and are practising healing rituals mixed with animistic rites. During the Covid-19 pandemic there are no festivities where the Gnawa can perform, so they play their castanets in the streets just to beg for donations. Their deeply hypnotic trance music has won international appeal and has influenced many Western musicians. The ‘Casaoui’, which are the inhabitants of Casablanca are very proud of the Atlantic, which they consider “their” ocean. They find a spot with a view and spend hours just looking at the sea. The spot they prefer is near the island of the saint Sidi Abderrahman. According to Moroccan popular belief, Sidi Abderrahman heals possessed individuals and helps women bear offspring and find a husband. The sanctuary, with its green pyramidal roof is the largest building on the island off the coast of Ain Diab and is surrounded by whitewashed houses inhabited by fortune-tellers. The whole place was closed during lockdown and now people are slowly starting to visit it again even if only to pay their respects to the saint. Moroccans value their private lives, which they protect from outsiders. Their traditional houses have no balconies or windows towards the street, and the only light and air they get is from their internal courtyards onto which all rooms open. On the beach they cover their umbrellas with sheets and towels to keep indiscreet eyes away. Camels are brought from the desert, where they are used for transport, to offer fun rides on the beach. As there are low and high tides and currents, very few people swim. Instead, they enjoy activities in the sand, like these camel and donkey rides. Children enjoy snacks and favours on the beach so there are many ambulant sellers both on the sand and on the Corniche, which is the promenade that runs along the coast of Casablanca. Traditional Moroccan women do not swim at all. They go to the beach dressed in their djellaba wearing a headscarf and often a baseball hat on top to keep the sun away. They go as far in as the wet sand to refresh themselves and watch over their children. Some choose to spend the day under their umbrellas chatting or sipping mint tea, Morocco’s traditional drink, with friends and family. In the areas where I photographed, the houses are small, so life takes place on the streets. With the pandemic, when the beaches opened, everyone swarmed there. Whole families, but mostly women and children, spend their days on the beach. Since the pandemic, this was where all the activity took place, so it was my preferred area too and I took most of my photos in this series on the beach. © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou My project Casablanca is an ongoing project and will only end when I leave the city for good. There is always something to learn and something new to photograph, there is a lot of information to gather and there are many photos to take. view Melita's portfolio Read an interview with Melita >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

I’m a Canadian visual journalist and storyteller based between Tehran and Dubai, working across the Middle East, South Asia, Africa, and Canada. My work explores themes of history, conflict, memory, and displacement, often focusing on communities living in the aftermath of political violence. Since 2015, I’ve covered issues such as the Syrian refugee crisis in Jordan, missing and murdered Indigenous women in Canada, FGM in Uganda, and religious extremism in South Asia. I’m HEFAT certified (VICE Media/Control Risk) and bilingual in English and Persian. In 2023, I was named one of the British Journal of Photography’s 'Ones to Watch' and awarded the Magnum Foundation Mobility Grant. My work has been recognized by World Press Photo, the Chris Hondros Fund, Women Photograph, and others, and published by outlets including The New York Times, The Guardian, Vogue, and Associated Press. I’m available for commissions and assignments worldwide. PARISA AZADI I’m a Canadian visual journalist and storyteller based between Tehran and Dubai, working across the Middle East, South Asia, Africa, and Canada. My work explores themes of history, conflict, memory, and displacement, often focusing on communities living in the aftermath of political violence. Since 2015, I’ve covered issues such as the Syrian refugee crisis in Jordan, missing and murdered Indigenous women in Canada, FGM in Uganda, and religious extremism in South Asia. I’m HEFAT certified (VICE Media/Control Risk) and bilingual in English and Persian. In 2023, I was named one of the British Journal of Photography’s 'Ones to Watch' and awarded the Magnum Foundation Mobility Grant. My work has been recognized by World Press Photo, the Chris Hondros Fund, Women Photograph, and others, and published by outlets including The New York Times, The Guardian, Vogue, and Associated Press. I’m available for commissions and assignments worldwide. LOCATION IRAN & DUBAI CAMERA/S Canon 6D WEBSITE https://www.parisaphotography.com/ @PARISA_IMAGES FEATURES // Ordinary Grief

DONNA BASSIN I am a Brooklyn-born, New Jersey–based photo artist, filmmaker, writer, and clinical psychologist whose work as a trauma therapist has profoundly shaped my practice. I focus on long-term projects that explore painful aspects of modern life, such as post-traumatic stress, racism, social injustice, and, most recently, environmental destruction. Before turning to photography and film, I studied art therapy at Pratt Institute and started as a handmade clay artist. Those early experiences, working directly with materials and later with patients, taught me that rupture leaves marks not only on bodies and minds but also on the surfaces we touch and shape. This awareness continues to influence my art. My photographs bear their own scars, burned, torn, sutured, or reinforced with gold washi tape, not to hide damage but to reveal trauma and loss so that healing can begin. Collaboration and community remain central. As co-creator of Frontline Arts, I worked with veterans to transform military uniforms into handmade paper, an experience that culminated in By Our Own Hand, a site specific installation at the Montclair Art Museum. These collective acts of making extend my studio practice into shared moments of mourning and repair. My approach is guided by psychoanalysis, which trained me to listen for the unspeakable, and by Japanese traditions such as kintsugi and calligraphy, which honor repair and imperfection. I draw inspiration from Hiroshi Sugimoto’s meditations on time, Doris Salcedo’s sculptural mourning, Anselm Kiefer’s scarred landscapes of memory, and Richard Avedon’s honest and vulnerable portraits. Alongside photography, I have created several short art films and directed two award winning feature documentaries, Leave No Soldier and The Mourning After. Film and video allow me to expand my photographic work into time and motion. My photographs, writing, and interviews have appeared in Tricycle, Lenscratch, Fotonostrum, Grazia, Borderline Press’ Facsimile, Lens Magazine, FLOAT, LandEscape Art Review, Dodho Magazine, The Hand Magazine, Analog Forever, Vostok Magazine, and Overlapse’s Stir the Pot. I received a 2024 Puffin Foundation Artist Grant and a 2021 New Jersey State Council on the Arts Fellowship, and I was recognized as both a Top 50 Photographer and a Finalist for Critical Mass from 2022 to 2024. My series The Afterlife of Dolls was featured on New Jersey PBS’s State of the Arts, and Portraits of the Precarious Earth appeared in “The Art of Repair” on Rhode Island PBS’s Art Inc. I have held solo exhibitions at the Newport Art Museum, R.I.; the Montclair Art Museum, N.J.; the Morris Museum, N.J.; the Passaic Arts Center, N.J.; Mira Forum, Porto, Portugal; and Espaço D’Artes, Lisbon, Portugal, as well as in SaveArtSpace’s billboard project in Brooklyn, N.Y. LOCATION New Jersey UNITED STATES CAMERA/S Sony, iPhone & Diana Pinhole WEBSITE https://www.donnabassin.com/ @P1NHOLE.DONNABASSIN FEATURES // Rupture Repair Remnant

I am a Californian born photographer currently based in Brooklyn. I photograph places and the people who live in them. Studying at the International Center of Photography, my work has been featured in solo shows at Viewpoint Gallery in Sacramento, California and Gallery 1855 in Davis, California and in group shows at the International Center of Photography; Women Street Photographers 2022 at Artspace PS 109; Centro Fotográfico Manuel Álvarez Bravo in Oaxaca, Mexico; Art on the Ave, New York, New York; Los Angeles Center of Photography; Noyes Arts Garage at Stockton University in Atlantic City, New Jersey; Brooklyn Waterfront Artists Coalition, Brooklyn, New York; Showfields, New York City; and other galleries. JEAN ROSS I am a Californian born photographer currently based in Brooklyn. I photograph places and the people who live in them. Studying at the International Center of Photography, my work has been featured in solo shows at Viewpoint Gallery in Sacramento, California and Gallery 1855 in Davis, California and in group shows at the International Center of Photography; Women Street Photographers 2022 at Artspace PS 109; Centro Fotográfico Manuel Álvarez Bravo in Oaxaca, Mexico; Art on the Ave, New York, New York; Los Angeles Center of Photography; Noyes Arts Garage at Stockton University in Atlantic City, New Jersey; Brooklyn Waterfront Artists Coalition, Brooklyn, New York; Showfields, New York City; and other galleries. LOCATION New York UNITED STATES CAMERA/S Nikon D810, Nikon Z7ii, Fuji X-Pro 2 WEBSITE http://www.jeanmross.com @JEANMROSS FEATURES // Raising The Bar

A LIGHT FANTASTIC Photographer Adam Sinclair shows his love for his home city of Melbourne with the use of strong compositions, contrasts and rich colours. A LIGHT FANTASTIC March 30, 2020 INTERVIEW PHOTOGRAPHY Adam Sinclair INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Adam Sinclair is a Melbourne based photographer whose arresting street photography captures the vibrancy and culture of the city in captivatingly creative ways. Throughout his works, he skillfully employs intense colors and deep shadows to craft mesmerising compositions that evoke strong emotions and tells a story. Evocative, enigmatic, and full of surprises, Adam's photographs bring to life the streets of Melbourne, inviting viewers on an exploration of the city like never before. With a passion for capturing the underlying beauty and spirit of his hometown, Adam has become renowned for his captivating photographic artistry that captures the essence of the city in a unique and unforgettable way. “I started in black and white doing mostly street portraits and reportage. Now I look for strong composition elements, fascinating humans and great colours of course!” IN CONVERSATION WITH ADAM SINCLAIR THE PICTORIAL LIST: Adam, please tell us when the spark started for photography? ADAM SINCLAIR: Some friends bought me a photo book about Henri Cartier Bresson ten years ago, so I spent the next several years with a camera being awful. Though I didn’t really get into street photography until October 2019. TPL: Where do you find your inspiration? AS: I love the colours and textures of urban centres. So many unintentionally beautiful scenes! Also fashion for me is a huge inspiration, I find it endlessly amazing looking at what people wear, and how they wear it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AS: I adore Saul Leiter especially ‘Early Color’. He was mostly responsible for my transition from black and white to colour. And my talented friends on Instagram are a daily dose of inspiration. (they know who they are!) TPL: Where is your favourite place to shoot? AS: My home town of Melbourne inspires me always. I think doing street made me fall in love with the place all over again. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AS: No. Some of my favourite images have been shot on a phone. I think vision and a keen eye for detail, shape, line, texture, light and shadow are the most important. I would say…just go and shoot! We can’t improve if we don’t press the button! Everything I know, I know from asking questions. - Socrates TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AS: Curiosity. Fascination. Patience… And a love of people! Oh, and a dash of confidence for good measure. TPL: Have you ever been involved in the artistic world before photography? AS: Yes, I spent some time as a designer in my much younger years. I’m also a singer. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: My website ‘Indistreet’ is my current project that will be an amalgamation of photography, short stories and a store, should people ever want something for an empty wall. Watch this space. TPL: "If I wasn't photographing what would I be doing?... AS: Hmm, probably singing under a bridge somewhere by the river collecting meagre donations haha!" Adam's passion for his home city of Melbourne is evident in his work, which highlights the beauty of the city through strong compositions, a knowledge of light and colour, and striking contrasts. His artistry is truly remarkable and is sure to inspire any onlooker. If you want to experience the world as Adam sees it, connect with him through Instagram and explore his unique view of the city. VIEW ADAM'S PORTFOLIO Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

EPHEMERAL REALITY Street life fascinates Juancho Domínguez causing him to keep looking for that unrepeatable scene and able to capture an ephemeral reality. EPHEMERAL REALITY November 11, 2020 INTERVIEW PHOTOGRAPHY Juancho Domínguez INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Juancho Domínguez is an inveterate pursuer of the ever-evolving street scene. His passion for street photography is deeply ingrained in his soul, and has only grown with time. From the hustle and bustle of the city streets to the small alleys and avenues, Juancho has captured a unique, unpublished reality that is hard to replicate. His use of black and white photography adds further drama to his body of work, while also providing a unique insight into the changing landscape of Venezuela. Juancho’s work speaks deeply to his own generation, as many of his images feature elderly people that reflect his own journey. But above all, Juancho’s photos capture the ephemeral nature of street life, emphasizing the beauty and mystery of a world in flux. “Venezuela is a melting pot of races, and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. I do not remember when I was young having seen so many older people on the street. Maybe they were invisible to me and now due to my own condition they present themselves to me at every moment in different activities, but I definitely believe that now there are more elderly people on the streets of Caracas, and it may be as a consequence of the social policy that has granted old-age pensions to a greater number of people, which makes them more independent.” IN CONVERSATION WITH JUANCHO DOMÍNGUEZ THE PICTORIAL LIST: Juancho please tell us about yourself. When did you start getting interested in photography? JUANCHO DOMÍNGUEZ: As I am retired, it occurred to me that to use my free time I could start taking photos, so the first thing I did was look for a compact (needless to say, I didn't know much about cameras) that I still use on some occasions. I started taking photos of objects, buildings, structures, etc., afraid of the human figure, and as I was feverish, I went out every day to photograph everything that caught my attention, and everything started to attract my attention. I was beginning to see again and see what I had not seen, what I usually saw. And so suddenly I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which it is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and of always wanting to carry a camera with me so that, in this way, I can testify afterwards what my eyes are discovering, with the charm of an inquisitive look that surprisingly wakes up. I am lucky to be friends with the photographers and teachers Susana Arwas and Edgar Moreno who invited me to the classes that they teach in their workshops on composition and photographic projects. There I went through a training process while I participated in the digital magazine that they edit: Magna, Histories of the Present. The work I do does not obey a specific photographic project because what is specific is the street itself, which is the best reflection of the pulsating reality of everyday life in a society that is undergoing a process of transformation. Venezuela is a melting pot of races, and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. I do not remember when I was young having seen so many older people on the street. Maybe they were invisible to me and now due to my own condition they present themselves to me at every moment in different activities, but I definitely believe that now there are more elderly people on the streets of Caracas, and it may be as a consequence of the social policy that has granted old-age pensions to a greater number of people, which makes them more independent. Now I am happier and with a new life project; filled with photos until I complete the last quarter of an hour I have left to live. The lights and shadows follow each other in moments and change in a few minutes and the action of the people is a matter of seconds, everything has to coincide with the moment, which is not only a decisive moment but also a decided one. I do not intend anything other than to give free rein to my restless and curious eye and show the result of that passion for photography. I am a man of few words, that's why I use photography. TPL: Street photography can be about waiting around for that right moment. What is that right moment for you? Is there anything particular you want to express through your photography? JD: In street photography, you don't always have to wait for the right moment, many times that moment comes as a surprise to you and you have to be reactive instantly, or you are left with the frustration of perhaps having lost the photo of the day and if so, it makes you feel bad every time you remember it. The moment is not only decisive but decided. What type of street photographer are you? I tend to be patient and discreet, going incognito among people, perhaps it is due to my shy nature, despite the fact that on many occasions people have said to me that I have taken a photo of them, with reactions ranging from kindness to violence. TPL: Do you have a favourite quote or saying that resonates with you the best? JD: A quote that I really like is this one by Julio Cortázar - "Among the many ways to combat nothingness, one of the best is to take photographs." I like it because I am a retiree who has nothing to do. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? JD: As I am fundamentally self-taught, my training has been informal and photographers have appeared on my way in a fortuitous way but I cannot forget when I met Fan Ho and the impression he made on me, by making me see photography as an artistic way to express your self and soul. Now I am happier and with a new life project: filled with photos until I have fulfilled the last quarter of an hour I have left to live. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? Do you do much post-processing? JD: The camera I use is very small, to go unnoticed and not attract attention. It is a Sony A5000 with a 16-50mm kit lens. I use Capture One with fairly basic processing, because I like to post natural photos, similar to what my eyes saw when I took them. TPL: Have you ever been involved in the artistic world before photography? JD: Yes, before photography I was making music for some time, mainly linked to theatre. TPL: Where is your favourite place to photograph? JD: In the centre of the city is where I move best because it seems to me that there is more contrast both between people and in situations that are worth photographing. I also look for places where light and architecture produce interesting shadow and chiaroscuro areas. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JD: I had several proposals, including a book for a university, but this pandemic led them to uncertain terrain. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? JD: What would fill me most with satisfaction is to see my photos in an exhibition, to show them to the public as a coherent whole that expresses not only the face and the heartbeat of the city but my own inner world. TPL: “If you weren't photographing what else do you think you would be doing? JD: Dying...” Juancho Domínguez is an exceptional street photographer who has dedicated his life to capturing the moments of everyday life in Venezuela through the lens of his camera. His work is a reflection of social change, and his mastery of black and white photography adds an extra layer of drama and contrast to his images. To get a closer look at the work of Juancho Domínguez, follow him on Instagram and witness his unique perspective on the people of Venezuela. VIEW JUANCHO'S PORTFOLIO Juancho's instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

PICTORIAL STORY SOCIALLY DISTANCED BEING SOCIAL IN TIMES OF SOCIAL DISTANCING July 3, 2020 PICTORIAL STORY Photography by Stefan Hellweger Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Stefan Hellweger is a photographer from Munich with a mission: documenting life in his city. The Münchner Tafel is a Munich food bank that provides food to 20,000 low-income people every week. During the weeks of Covid-19 prevention measures, operations had to be adapted to the new requirements. It was during that time that Stefan set out to document what that means for the disadvantaged and the many volunteers at the Münchner Tafel. He recorded it in his photo series "Being social in times of social distancing". His photos are close-up and honest and tell a real story. The global Covid-19 pandemic has drastically changed how and when people interact with each other. This has had repercussions on the way life in cities is organised, and the way just about all institutions (businesses, hospitals, care homes, cultural institutions, charitable organizations, etc.) go about their business. It has also had a strong visual impact on the cityscape. Who would have thought a few months ago that face masks - in European cities previously reserved to Asian tourists - would become ubiquitous, or that we would do our exercise classes at home via online platforms? THE MUNICH FOOD BANK MÜNCHNER TAFEL In 2019 the Münchner Tafel had its 25th anniversary. Stefan is a member of the Munich Street Collective, a group of currently 10 photographers, whose passion is documenting contemporary history in public spaces - to capture life in Munich as an artistic historic document for the future. Unlike many purely virtual collectives on Instagram, the members of this collective also organise street photography walks and occasionally analog exhibitions. One of their members had connections to the Münchner Tafel, and the collective came up with the idea of documenting the charity's important work. After months of photographing, they organised a joint exhibition at Munich's art centre, Gasteig , which was very well received and much to the ten photographers' joy resulted in a significant increase of donations. So, the current reportage is Stefan's second time to be involved in a documentary about the Münchner Tafel. Every Munich resident on welfare assistance can apply for an authorisation card to visit one of the 27 branches of the Münchner Tafel. The goal of the food bank is to make the lives of people living from social security a little bit easier by providing food. That way they can spend the little money they have for other purposes. For homeless people there are other organisations specialised in providing assistance. The Munich Food Bank usually has different delivery points around town, but because of the pandemic containment measures, all groceries were being distributed from the wholesale market in Sendling for several weeks. The volunteers and the guests of the Münchner Tafel now all have to keep a distance of at least two metres. “Unlike the supermarkets I shop at, this food bank was being checked for regulation compliance every day!”, says Stefan. “So, they took this really seriously.” FROM OLD TO YOUNG The corona crisis has also completely changed the composition of the volunteer team: where previously it was mostly retired people who joined the effort to provide food for the needy, it was now mostly young people (freed up from their usual occupations by Corona). They would help set up the tables, carry boxes, clean up, hand out food, and sometimes lend an ear to one of the guests wanting to chat. For some of the people who visit the food bank, it is not only a way to get food, it is also a place where they can meet other people, where they can have a conversation without fear that they will be judged. Although all guests at the Münchner Tafel receive a minimum income from the German government, they still live below subsistence level. What this means is that after basic needs are met, they often have nothing left to enjoy a bit of entertainment - a movie maybe, or a visit to a coffee shop. Coming to the food bank helps fill that gap. © Stefan Hellweger Volunteers high fiving shortly before the guests arrive. © Stefan Hellweger A Tafel guest covering mouth and nose with a scarf. © Stefan Hellweger Axel Schweiger, head of the biggest branch of the Munich food bank. © Stefan Hellweger © Stefan Hellweger © Stefan Hellweger The Münchner Tafel is now returning to most of its 27 locations, except where, because of a lack of space or for other reasons, it is not possible to comply with strict corona regulations. Such locations will continue their food distribution at the western gate of the wholesale market. view Stefan's portfolio Read an interview with Stefan >>> Instagram >>> Münchner Tafel Munich Street Collective The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

PICTORIAL STORY I AM WATER Paola Ferrarotti takes us beneath the surface — into the stillness and strength of water, where she explores her lifelong bond with this element. Through powerful, personal imagery, she reflects on how water has shaped not only her surroundings but her very sense of self. November 1, 2023 PICTORIAL STORY photography PAOLA FERRAROTTI story PAOLA FERRAROTTI SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link A tribute to the element Water. Dive. Dilute. Lose fears. Who are you in the water? Are you another me? You quiver like a sea-fish. Why was I born, what is my purpose here and how should I understand life? The imperative search for clues to help me get even close to glimpsing answers to these questions has always been present in me. Every time I come into contact with water, every time I immerse my body in a pool, a lake, the sea, I know that I am embarking on a transformative inner journey. Water teaches me, teaches me to relax, to listen to my deepest voice, to adapt to my circumstances and to renew myself. In the water I know I am entering a journey of exploring the depths of my own potential. I love spending long periods of time in the water. It transports me. It transforms me. It teaches me to know myself. Floating and immersing myself in the water is each time a journey into myself, where I encounter my deepest thoughts and emerge a little changed. Who am I in the water? In silence, in the water, I embark on a journey towards a hidden part of myself that helps me to understand my life a little better each time. Where I realize that the answers would probably never completely arrive but I feel at peace with that. Where I accept life as it is. Where my fears dilute. In the water I shiver like a sea fish. Was Anaximander right with his theory? Diving into water is like re-entering the womb. A unique sensation. With my head, with all my body under water, my senses explode. I feel “everything”. The frequency and intensity of my vibration become even higher. Water connects me with my innermost. And I feel calm and at peace. I feel the connection to All. When I am immersed in water, I feel that I return to the beginning of everything. I return to water, which is not only water. I return to Herman Hesse's voice of Life, to the Voice of Being, to the Voice of Perpetual Becoming. Water hits me. It wakes me up. It caresses me. It makes me bristle. I close my eyes. Everything is an intimate ceremony. My skin transmits messages. My fears dilute. Often in the evening they sat together on the tree trunk by the shore, both silent and listened to the water, which for them was not water, but the voice of life, the voice of being, of the eternally becoming. - H. Hesse, Siddharta © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti Paola Ferrarotti’s work moves beyond simple documentation; it is an act of seeing and revealing. Raised in Rosario, Argentina, she was drawn early to the wider world, compelled to explore its many facets and stories. After completing studies in Political Science and International Relations, a visit to her sister in Heidelberg, Germany, became a turning point. What began as a short stay grew into a new chapter, where photography found its true meaning. Paola views reality as complex and layered, often difficult to grasp fully. Her images seek to reflect this depth — not to explain, but to express what lies beneath the surface, shaped by her experience and feeling. Her projects — Nature Saves Us , German Voices Crying Out for Freedom , and The Yoke of Afghan Women — invite reflection on struggle, resilience, and hope. They challenge us to witness and understand. Photography becomes a dialogue, a way to connect with the world’s many truths. Paola’s journey is ongoing, and her vision continues to unfold. view Paola's portfolio View Paola's other stories - "The Yoke of Afghan Women" "German Voices Crying Out For Freedom" Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

PICTORIAL STORY MYSTIC VOYAGE January 15, 2021 PICTORIAL STORY Photography and story by Ulka Chauhan Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Ulka Chauhan is originally from India, and has lived in Boston, New York and Cape Town. Currently she is dividing her time between Zurich and Bombay. Apart from photographing life on the streets of Zurich, she enjoys documenting the rich tapestry of colours, character and culture of all countries she visits. Although Ulka has travelled extensively, no place has touched her quite like Varanasi, the spiritual capital of India. In the pre-pandemic month of January, she set out to capture the spirit of Varanasi, and it was the energy of the people and the place that captured her. It was a transformative journey and through her pictorial story Ulka transports us on a mystic voyage to this timeless city of life and eternity. “Varanasi is older than history, older than tradition, older even than legend and looks twice as old as all of them put together.” - Mark Twain Situated on the banks of holy river Ganga, Varanasi is believed to be the oldest living city in the world. For centuries, the mystique of this place has been attracting pilgrims from across India as well as abroad. People come to worship and offer their prayers to the river Goddess – Mother Ganga . A dip in the holy waters is said to wash away all sins. There are more than 80 ghats (steps) leading down to the river. Some ghats are dedicated to worship and others that are dedicated to cremation. It is believed that if anyone dies in Varanasi, they will attain salvation and freedom from the cycle of birth and rebirth. At the crack of dawn each day, the ghats are gently peppered with people performing their rituals. The quietude of the early morning, the soft sunlight glistening over the holy waters, the reflections of the row boats docked along the riverbank are both calming and invigorating at the same time. A monk recites the sacred texts as part of his morning prayers and meditation. The serenity of the moment…the quietude of the early morning, the soft sunlight glistening over the holy waters and the reflections of the row boats docked along the riverbanks; makes one realise the value of reflection and looking within. A school of novice monks perform sun salutations and other yoga asanas as part of their morning routine. The young monks belong to the Brahmin caste, and they are training to become brahmin priests and to follow a spiritual life. The daily practice of morning yoga on the ghats is an essential part of their training to lead a disciplined life and to stay connected with the energy of the earth. Some pilgrims take a morning dip in Ganga to cleanse their body, mind and soul. Others wash their clothes in her waters. It is believed that those who bathe in the sacred waters will be free of all sins and attain salvation. Worshippers make their way down the narrow alleyways of the old city to make their offering at one of the countless temples. It is estimated that there are 23,000 temples in Varanasi. Making an offering of flowers and coconut at a temple or a shrine is a way for the worshippers to pay their respect and stay devoted to God. A story of Varanasi is not complete without speaking of its holy men. Varanasi is a spiritual home for India’s Sadhus. These men are revered as representatives of the gods and sometimes worshipped as gods themselves. They are ascetic wanderers respected for their holiness and feared for their curses. They willfully renounce themselves of all earthly possession and dedicate their lives to the pursuit of spiritual liberation. Apart from the Sadhus, Varanasi is also home to Buddhist monks at the Nepalese temple and Hindu pandits (priests) who perform the Ganga Aarti ceremony. An ash smeared Naga Sadhu who was sitting around a bonfire. His renunciation of all belonging is a sharp contrast to the big city lifestyles of short-lived materialistic pleasures. Another Sadhu clad in red, the intensity of his gaze exuded inner strength and resilience, and he appeared to be detached from his surroundings. At the Nepalese Temple, there was an elderly monk soaking in some afternoon sun in the temple courtyard. The ultimate ceremony of all takes place in Varanasi every evening as dusk descends. Throngs of pilgrims gather on row boats docked along the water’s edge and along the steps of the ghats to watch the Ganga Aarti. As part of the ceremony, the pandits circle glittering oil lamps, shells and tufts of horse tail in a clockwise direction. This is accompanied by chants and songs in praise of the mother Ganga. As the ceremony draws to a close, the pandits sprinkle petals of marigolds in the air. The sight of the showering saffron is so magical, it is as if blessings are raining down from the heavens above. © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan '© Ulka Chauhan © Ulka Chauhan © Ulka Chauhan Ulka Chauhan's journey to Varanasi was both transformational and unforgettable. Ulka captures the essence of this timeless city in her photos, which tell the story of its people and culture as well as its spiritual nature. Join Ulka on her many journeys and explore the beauty of her visual storytelling. view Ulka's portfolio Read an interview with Ulka >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.