Search this site

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

NOTES ON A LANDSCAPE Very poetic and existential in nature, Mostafa Nodeh’s minimalist landscapes invites us to reflect on the deeper questions in life. NOTES ON A LANDSCAPE June 24, 2022 INTERVIEW PHOTOGRAPHY Mostafa Nodeh INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Very poetic and existential in nature, Mostafa Nodeh’s photography invites us to reflect on the deeper questions in life. What is the meaning of it? How are we spending it? Or to engage with more politically charged questions such as which lives matter? Or who is disposable? Mostafa is an Iranian artist and self-taught photographer based in Guilan, on the northern coast of Iran. He is known for his captivating symbolic minimalist landscape photographs in black and white. The barren landscapes, footsteps in the snow, birds flying towards freedom, tiny people against large constructions, ladders, and winding roads can be interpreted as metaphors of life. They all hint of a journey, a long slow walk and the paths there are to choose within it. Mostafa’s world could in many ways be described as a world of contrasts. At first we are struck by the beauty and simplicity of Mostafa's work, however, beneath this facade hides deeper meaningful philosophies. The dark shadows, strong lines and sharp geometric shapes create a striking presence, as Mostafa describes, “like an emerging storm they hint of unease, which is further empathized by the distance to the subjects that appear small against large landscapes, constructions and the overall brutal and raw force of nature.” At the same time, the light, warm tones and soft organic textures emit a strong sense of serenity, peace and hope, “a calm after a storm and the promise of a bright future.” With a background in painting and while photography is his preferred medium today, Mostafa recognises a strong link between painting and photography, often combining aspects of both into his working process, and is visible in the photographs themselves. Mostafa's minimalist works are a combination of preconceived ideas, often inspired by his own thoughts and dreams, and chance and coincidence, twisting the notion of time and space, making it impossible for us to anchor in any reality to us. His masterful transitions between light and shadow, the texture, tone, shading and color, which at times resemble aspects of painting, but also in his dreamlike treatment of the subject matter and in the overall composition. “To me, minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world.” IN CONVERSATION WITH MOSTAFA NODEH THE PICTORIAL LIST: Mostafa please tell us about yourself. MOSTAFA NODEH: I was born in one of the farthest northern regions in a village called Nodeh. Nodeh village is one of the regions of Gilan. Unfortunately, due to working conditions and earning income, I migrated from this beautiful village and settled in a city called Zibashahr, Qazvin. I worked as a photographer due to the difficult economic conditions in Iran. In my country, artists face many problems, and I am no exception to this rule. TPL: You have a background in painting. What was that moment that you decided to put down the paintbrush and pick up a camera? How does your use of the camera as a tool influence your use of it in recent years as a means for self-expression and emotion? MN: Yes, I loved to draw with a pencil and I used to put the images that came to my mind on paper. My paintings were great at school and sometimes I painted for my classmates. I loved magazines and dailys that had photos, and I would cut those photos with scissors and turned them into an album as I wished. I would then stick them to my office wall. This interest led me to get a small compact camera and eventually a professional Canon 7d camera with a lens of 18-135mm. TPL: Very poetic and existential in nature, your works invite us to reflect on the deeper questions in life. What is the story you want your photographs to tell? MN: Yes, it is. In each of my works, there is a story where the audience starts to tell a story. One day, a writer by the name, Azin Jahanian, saw my photos and started writing for dozens of my photos. It was written in a soft and poetic way to suit the mood of each photo. Later, together we decided to collaborate, publishing my photographs and his writings in a book called "Minimalism for the world" in both English and Persian and translated by Jalileh Masoumi Moghaddam. TPL: Describe what it is like to photograph in Iran. How have the streets and culture you capture influence your photography? MN: Photography in Iran is at a relatively high level. The Iranian people are by nature artists and art lovers. The streets of my country have a rich civilization, which is both attractive and proud to depict, whether in the form of paintings or photographs. TPL: What photographers do you look for inspiration? MN: Ansel Adams and Michael Kenna have always been an inspiration to me. I get a sense of nostalgia for their work that takes me back to my childhood. I love solitude and silence, I talk less and listen more. I believe that a good photo expresses all the emotions and intentions of the owner of the work. My photos look like graphics at first glance, but I must say, I created the graphics with photography. TPL: Is there a special photographic moment you recall that will always remain with you...one maybe that changed your view of the world in which you shoot in? MN: All my photos are summarized in my childhood dreams. I would like to go back. In my opinion, the best time in a person's life is his childhood. When you are a child, the ultimate pain is the damage to your toys. You breathe carefree and make the best movies from your mother's storytelling. TPL: What are some of your goals as an artist or photographer? What direction do you think you will take your photography? Where do you hope to see yourself in five years? MN: Global influence is one of the most important goals I pursue. I believe that a person who leaves an acceptable work of art does not disappear even with an earthly death, and the name he leaves behind due to his works and the impact on his audience is the best meaning for his whole life. For five years I have been searching for the meaning of life for nothing. TPL: “When I am not out photographing, I (like to)… MN: To listen to Electronic music...I love the songs of Jean-Michel Jarre. Even on a trip to France and Paris and my solo exhibition in Paris, I told a French reporter that I was in love with Jean from France. I listen to Jean's songs while photographing. I dream of Jean's songs.” PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

Started my journey in the late nineties, and then took a break for eight years. Almost six years forward, and the journey has recommenced. I photograph things the way I see them, focusing on light, shadow, and colour. My images focus on the people and things, in the small semi rural town where I live, in New Zealand. I use multiple ways to show my work, exhibition, electronic media, and public display as billboard style images, two metres plus in size. I believe it's important to have images accessible, to as many people as possible, because not everyone feels comfortable in a gallery. The journey has taken me from assisting commercial photographers and as a freelance press photographer. It is all a learning curve...but as long as you are learning. TONY REDDROP Started my journey in the late nineties, and then took a break for eight years. Almost six years forward, and the journey has recommenced. I photograph things the way I see them, focusing on light, shadow, and colour. My images focus on the people and things, in the small semi rural town where I live, in New Zealand. I use multiple ways to show my work, exhibition, electronic media, and public display as billboard style images, two metres plus in size. I believe it's important to have images accessible, to as many people as possible, because not everyone feels comfortable in a gallery. The journey has taken me from assisting commercial photographers and as a freelance press photographer. It is all a learning curve...but as long as you are learning. LOCATION Palmerston North NEW ZEALAND CAMERA/S Fuji XE-3 - 23mm F-2.0 lens WEBSITE https://www.flickr.com/photos/tony_reddrop/albums @TONYREDDROP FEATURES // Crossings

I am a professional photographer, videographer, and video editor specializing in storytelling. Born and raised in Athens, Greece, I seek to uncover hidden details that make a difference in people's lives and bring these stories to life through my camera. My interests lie predominantly in the culture, ethnography, and traditions of isolated Greek communities, as well as environmental issues around the world. After completing my academic studies in Conservation Biology in Plymouth, UK, I traveled to three different continents to observe natural environments, the organisms within them, and the impact of human intervention. To immerse myself more directly in these environments, I chose the bicycle as my primary mode of transport. This approach allowed me to not only observe the environmental landscape but also to interact with the inhabitants of each region, leading to a deeper understanding of their lives. Living in the barren regions of Greece and exploring countries worldwide, I gained profound insights into socio-political and ethnographic issues. I learned to connect the natural environment with the cultural heritage of each area. My observations of daily life, human survival instincts, and regional cultural realities provide valuable material worthy of recording and sharing with the public. I believe in the importance of dynamic and responsible participation in public discourse to highlight significant issues. Through my lens, I capture the untold stories, aiming to preserve disappearing professions, local customs, and traditions. My visual narratives, created from images, music, and films, seek to honor communities and their unique cultural elements by creating an archive of iconic figures. ALEXANDROS ZILOS I am a professional photographer, videographer, and video editor specializing in storytelling. Born and raised in Athens, Greece, I seek to uncover hidden details that make a difference in people's lives and bring these stories to life through my camera. My interests lie predominantly in the culture, ethnography, and traditions of isolated Greek communities, as well as environmental issues around the world. After completing my academic studies in Conservation Biology in Plymouth, UK, I traveled to three different continents to observe natural environments, the organisms within them, and the impact of human intervention. To immerse myself more directly in these environments, I chose the bicycle as my primary mode of transport. This approach allowed me to not only observe the environmental landscape but also to interact with the inhabitants of each region, leading to a deeper understanding of their lives. Living in the barren regions of Greece and exploring countries worldwide, I gained profound insights into socio-political and ethnographic issues. I learned to connect the natural environment with the cultural heritage of each area. My observations of daily life, human survival instincts, and regional cultural realities provide valuable material worthy of recording and sharing with the public. I believe in the importance of dynamic and responsible participation in public discourse to highlight significant issues. Through my lens, I capture the untold stories, aiming to preserve disappearing professions, local customs, and traditions. My visual narratives, created from images, music, and films, seek to honor communities and their unique cultural elements by creating an archive of iconic figures. LOCATION Athens GREECE CAMERA/S Sony A7 iii @ALEX.ZILOS @ALEX.ZILOS FEATURES // Fire and Forge

SEE MY NEIGHBORHOOD Cahleen Hudson has challenged herself to 'see' her neighbourhood making it all feel like she was really seeing the place for the first time. SEE MY NEIGHBORHOOD June 10, 2022 INTERVIEW PHOTOGRAPHY Cahleen Hudson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE When the world around us starts to feel mundane and stale, one courageous American expat has discovered a creative way to bring new life to the familiar. Cahleen Hudson, a busy mom who works from home and homeschools her children, has taken up photography in the past year and it has become her way of seeing the world. Despite having a limited daily walk most days with her children, Cahleen has made it her mission to look more closely at her neighborhood and find beauty in the everyday. Through her lens, she’s been able to capture the beauty of her surroundings by finding interesting perspectives through barriers like glass and plastic, and by using reflections. This creative approach has allowed Cahleen to explore the same places every day in a new way, and she has managed to find new meaning through her photos. Now, Cahleen is ready to share her unique view of the world with us all. “I’ve always appreciated art for the power it has to make people feel things, but I never imagined I was capable of creating it myself. I thought creating art was for “talented artsy people” who could produce something obviously beautiful like a painting, and that everyone else wasn’t allowed in the club. I’ve dabbled in writing but have never felt drawn to make that my artistic “thing,” so I just stuffed down this desire to create and forgot about it for many years while I was busy with babies and life in general. The baby years were so all-consuming for me, I don’t know that I could have learned a new skill like photography at that time. But now my kids are a bit older, and that love for art and the desire to create something never completely went away. My mom had a Canon Rebel T6 that she bought for aspirational reasons and never used, and I talked her into giving it to me for my 38th birthday so I could have fun with a new hobby. However, once I saw what was possible with a camera, the desire to use it for artistic expression woke up the creative side of me that I never thought was worthy of acknowledging. I realized that photography is like writing, not because photos need to tell a story — that’s too much pressure to put on any one image — but because it communicates a feeling or an impression. It’s a way for the artist to share their vision with the person consuming the art. The hope is that others will recognize some of their own experience in that vision and connect with it, just like they would when they’re reading a good novel or watching a movie.” IN CONVERSATION WITH CAHLEEN HUDSON THE PICTORIAL LIST: Cahleen please tell us about yourself. How does where you are from influence your work? CAHLEEN HUDSON: I grew up in Lakewood, California, a suburb of Los Angeles. The area feels very orderly and planned—people travel around in their cars and there are tracks and tracks of single story homes, shopping centers with big parking lots, Starbucks. I now seek out the opposite of this in my life and my photography. I can’t help but poke at expectations and then completely subvert them, which is why we live abroad and homeschool our kids. Now, I’m attracted to the mess that happens when a lot of people need to live together in a small space; I like the organic way that people spread out and take up space when there aren’t such rigid rules about where they should go—you get busy markets and nonsensical parking strategies when this happens. I like taking photos of these things. TPL: You are an American expat living in Taiwan. Talk to us about your life in Taiwan and how the streets and culture have influenced your photography. CH: On a practical level, I can get away with taking more candid street photos because people think I’m a tourist! I’m loosely paraphrasing here, but David Sedaris once wrote that being an outsider in a culture can allow you a deeper view because people reveal things about themselves when they don’t think you’re capable of understanding what’s going on. I wouldn’t say that people in Taiwan act differently around me because I’m obviously not from here, but I can say that being an “outsider” allows you a different view. I’ve lived here for 16 years, so I don’t feel extreme awe about the things I see anymore, but there is still always that slight feeling of being on an adventure when you live in a culture that’s completely different from the one you grew up in. I don’t think I have to work quite as hard to have fresh eyes and find things to be delighted by when I go out with my camera. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. CH: I don’t pick up my camera with a concept in mind, but when I see something that interests me, I like to stop and work the scene a little and take my time to experiment. I only take one lens with me, so I will have a general idea of what kind of photos I’ll be taking based on the focal length for the day. I also might want to work on a certain skill that day or shoot in high contrast black and white because the light isn’t very interesting, but I never know exactly what I’ll be taking pictures of. I like approaching the day this way because it makes me mindful and present. TPL: What role has the digital community played in your photography? CH: The photography community on Instagram has played the biggest role in my life so far, and like most photographers I have mixed feelings about it. We all know what the downsides are, so I’ll focus on the positives. I’m constantly amazed by how generous people can be with their advice and encouragement. I’m horrified by some of the things I used to post, but even then, people took the time to answer my questions and introduce new ways of thinking about photography to me. While Instagram has sucked away more of my time and attention than I care to admit, it’s also shown me what’s possible in photography. I didn’t own any photo books (or even know the names of very many photographers) when I first started out, so Instagram was my only window into this world at first. Photographers on Instagram taught me that tack sharp photos are overrated, blur can be intentional, and grain can be good. I didn’t know any of this stuff was “allowed” in the beginning. Instagram gives me access to approaches that inspire me, challenge me, and teach me. Now I just need to figure out how to extract these benefits without getting sucked into the endless scroll! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CH: The work of different photographers has spoken to me at different times, depending on what skill I’m currently working on or what style of photography I’m currently obsessed with. When I first came out of the “learning what exposure is” phase and realized I could use my camera to create art, I devoured Valerie Jardin’s podcast. I don’t take the same kind of photos as her, but I needed to learn from her contemplative, heart-driven approach to street photography at that time. She also takes tender, loving photos of details that inspire me to notice all of the small, beautiful things in my day as well. After Valerie, I took Gustavo Minas’ Domestika class on street photography. He showed me that a photo doesn’t have to be a straight, frontal view. I think he does what I like to do, which is to walk around without an idea but then stop and work a scene a little once you see something interesting — the result is so thoughtful and complex! I can only hope I learn to wrangle so many layers of complexity like he does someday. He also instilled in me my love of reflection photos. Next I fell in love with Saul Leiter. He started my journey into abstract street photography. What I learned from him is that it’s okay for a photo to just give you the impression of the thing you’re photographing. Shapes, colors, light — maybe they matter more than a realistic depiction of the subject. I also find his use of longer lenses in street photography interesting — there’s definitely something I can learn there! My current favorites are Sally Mann and Lisa Sorgini, for the same reason even though they have different styles. What I love about them both is how they incorporate motherhood into their art. Their work feels honest and brave to me; they turn their lens to things that not everyone wants to see (especially Sally Mann), and they still make it beautiful. They also both make me feel like it’s possible to create with my camera even when my kids are hanging all over me! Once I saw what was possible with a camera, the desire to use it for artistic expression woke up the creative side of me. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? CH: This is hard, because I’ve never shot with another photographer — I have this sneaking suspicion they would find the things I wanted to photograph, and also get impatient when I stopped in front of a window to get some reflection shots for ten minutes! I would love to spend the day with Sally Mann, though. I’m inspired by her vision and her audacity. TPL: Do you have a favorite photography/art quote that has been an inspiration to you? CH: In the Saul Leiter documentary In No Great Hurry, Saul said, “My photographs are meant to tickle your left ear.” He was saying that his photos didn’t have to be analyzed or understood, the person viewing them could just allow themselves to enjoy how beautiful they are without interrogating all of the reasons that the photo works or trying to decipher a hidden meaning that isn’t necessarily there. I find this to be so freeing! When an artist has to imbue everything they do with meaning, it can paralyze. It leaves no room for experimentation or play. TPL: What camera do you use? Do you have a preferred lens/focal length? Is there any particular equipment you need or wish you had to help you achieve your photographic vision? CH: The Canon Rebel T6 and kit lens was great for learning about exposure and the basics of how a camera works — it is possible to take great photos with an entry level DSLR! I was ready for something lighter and with more features, though, and I now have a used Canon EOS M5 along with a 22mm, 32mm, and 56mm lens. I don’t like to fuss with a zoom or carry a bunch of lenses with me—I wake up and decide what focal length I feel like shooting with and that’s my lens for the day. If I miss a shot because I don’t have the right focal length and I can’t move fast enough, I trust that there are other shots I will be able to get. If not, there’s always tomorrow. Life will always give you more shots. If I had to pick just one lens to use forever, I guess it would be my 32mm because it’s my Jack-of-all-trades lens. I don’t think I need anything else for what I’m currently doing, but maybe I don’t know what I’m missing. (Please don’t tell me!) If I had unlimited funds, I’d get a Leica and go full frame or a Fujifilm medium format camera. TPL: What are some of your goals as an artist or photographer? What direction do you think you will take your photography? Where do you hope to see yourself in five years? CH: I love this question! My first instinct is to pretend I don’t have any goals because it feels presumptuous. But that’s just that old way of thinking — the joy-stealing thinking about who is and isn’t allowed to create art! So I’m going to be real and admit I have dreams for my photography and challenge anyone who says I shouldn’t have them. Just like all of the amazing photographers I’ve already mentioned, I want people to be able to recognize my photos no matter what genre they fall into because they recognize my way of seeing the world in them. To see my work in print or even in my own photo book one day would be the ultimate dream come true! I have a long way to go before anything like that is possible, but I’m no longer afraid to say that this is what I want because I no longer believe that there are rules for who gets to create art. And even if I never reach these goals, striving for them can only make me better. TPL: “When I am not out photographing, I (like to)… CH: Read fiction, spend time with my family, go to coffee shops and enjoy delicious carbs, and go to the beach." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

PICTORIAL STORY EXCLUSION ZONE SEARCHING FOR CLUES IN CHERNOBYL April 23, 2021 PICTORIAL STORY Photography and story by Sophie Linckersdorff Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Sophie Linckersdorff is a German photojournalist and documentary photographer. She is currently based in Munich and in Berlin. Since 2018 she has been studying Photo Design at the University of Applied Sciences in Munich. She mainly works in the field of portraiture and documentary photography on personal long-term projects and international editorial assignments. Her projects have received several awards, and she has had diverse exhibitions. Sophie shared with us a stunning set of photos from the Pripyat Exclusion Zone in Chernobyl, where she photographed the remains of the former human presence. “Man lives with death, but he doesn’t understand what it is.” - Svetlana Alexievich ( Voices from Chernobyl: The Oral History of a Nuclear Disaster ) THE HISTORY Thirty-five years ago, on Saturday, 26 April 1986, the No. 4 reactor in the Chernobyl Nuclear Power Plant, near the city of Pripyat, a Soviet city built especially for the power plant workers in the north of the Ukrainian SSR, then part of the Soviet Union, exploded. What happened was an uncontrolled nuclear chain reaction during a safety test that went terribly wrong. To this day it is considered the worst nuclear disaster in history. When a large amount of energy was suddenly released, two explosions broke the reactor core and the building housing it. For about nine days following the accident, the reactor fire that followed spewed highly contaminated nuclear radiation into the air. The radioactive pollution spread through winds across parts of the USSR and much of northern and western Europe — but the accident was kept a secret from other countries for days. It later turned out that the KGB had received reports on numerous structural and construction quality issues and deviations from the original design of the plant since 1973, but the Soviet government failed to act on it. Because of increasing environmental radiation levels, initially an initial 10 kilometre radius exclusion zone was later expanded to 30 kilometres. Evacuations from the most affected city of Pripyat did not take place until 36 hours after the accident. By that time many people had been hospitalised with radiation sickness. Later, hundreds of thousands of people were evacuated from the most severely affected areas in what are now the independent states of Belarus, Ukraine and Russia, and an area of more than 4,000 square kilometres lies largely abandoned, though some people have returned. The social consequences continue to be felt. A small number of people even continue to live in the most polluted areas. The damaged reactor itself has been encased in a steel structure to keep further radiation within. Plants and wildlife have taken over areas that were abandoned by humans. Scientific research on pollution levels has been continuing, and some think it may be safe to live in the area except for the pollution hotspots. In direct response to the Chernobyl disaster, the Vienna-based International Atomic Energy Agency initiated the creation of a Convention on Early Notification of a Nuclear Accident, and this now binds signatory member states to provide notification of any nuclear and radiation accidents that could affect other states, along with the Convention on Assistance in the Case of a Nuclear Accident or Radiological Emergency. In recent years Pripyat was deemed safe for short visits and has now become one of Ukraine's tourist attractions, with visitors coming to experience and photograph this "lost place". Sophie was one of them, and this is her photo essay. The sun is shining. No smoke, no gas. There is no shooting. Is that a war? And yet we are refugees. The familiar world - an unknown world,” said an evacuated woman in 1986. Death lurked everywhere, but this death is somehow different. Radioactivity is invisible, silent and tasteless. The explosion of the Chernobyl nuclear reactor on April 26, 1986, devastated millions of people in the Ukrainian Belarusian border area. Since then, Chernobyl has been one of the world's collective nightmares. The catastrophe was beyond human imagination. How could one put the immeasurable suffering into words? What is most memorable in Chernobyl is life "after": Cities without people, houses without people, relics of human existence. One wonders: what is it - past or future? My first trip to the zone: It was December 2019. Birds sang, the trees bore needles, cities and villages lay before me. Everything looked very familiar. But something was missing: the people. Decaying relics bear witness to a high-tech city that flourished at the time. © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff Out of gallery © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff Out of gallery With this photojournalistic work I would like to stimulate thought as well as to commemorate the countless victims of the man-made catastrophe. I see the depicted morbidity as a memorial, against an unconditional technology piety. view Sophie's portfolio Read an interview with Sophie >>> Instagram >>> Sources used in story - BBC, Chernobyl | The end of a three-decade experiment Wikipedia | Chernobyl Disaster 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 >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. Out of gallery

FRAGMENTS OF A TIME These unfocused images connote the mixture of emotions and uncertainties Daniela Pereira perceived as time passed during the pandemic. FRAGMENTS OF A TIME April 26, 2021 INTERVIEW PHOTOGRAPHY Daniela Pereira INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Daniela Pereira is passionate about photography as a hobby and artistic expression. She is interested in several genres and likes to experiment with photographic techniques. Daniela has shared this series of photographs of her exploration of long exposure photography. These blurred, unfocused images, of different colours and shapes, connote the mixture of emotions and uncertainties she perceives as time passes during the pandemic. “The purpose of this project is to explore long exposure photography. It is a technique that helps me to portray the passage of time. The blurred, out-of-focus images of different colors and shapes connote the mixture of emotions and uncertainties derived from this year of the health emergency due to Covid-19. They can also be related to the different ways of perceiving the passage of time at that stage. The dynamism conveyed by the photographs is associated with the speed of change, with the intensity of the experience. The dilated figures, without precise limits that seem to be moving but never end up passing, suggest the slow course of a time that does not coincide with the usual.” IN CONVERSATION WITH DANIELA PEREIRA THE PICTORIAL LIST: Daniela please tell us about yourself. How did you become interested in photography? DANIELA PEREIRA: I was born in Montevideo, the capital of Uruguay, South America where I’m living now. I work in international cooperation for development, in the area of education and culture. I traveled to many countries around the world. I studied abroad in Spanish universities. My interest in photography began during my trips. Photography is my great passion. Whenever I have the opportunity or the time I take my camera with me. Four years ago, I began studying specialising in amateur photography at Foto Club Uruguayo, a well known photography institution. TPL: Where do you find your inspiration? DP: My main source of inspiration are Montevideo city streets. As I live there, most of my photographs are taken in the city. I love walking through the city looking for amazing places and people. I also like nature and landscapes. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? DP: I always try to include a personal look in my work through the different aspects of my photographs: technique, lights and shadows, use of light, topics, movement, double exposures. The elements I pay most attention to are the ones that make a balanced composition. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DP: There are many artists and photographers that inspire me...Aleksandr Rodchenko to name just one. TPL: Where is your most favourite place to go photograph? DP: The city, the street during the day and at night. Photography is my great passion. Whenever I have the opportunity or the time I take my camera with me. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? DP: I used to enjoy the interaction with people in the street when I’m photographing their places or making some kind of portrait or scenes. According to the Ethic and Human Rights Act, I do try to be respectful for their images and identity so I always ask them for agreement. I also express my gratitude for the opportunity. If some disagreement appears I make an explanation and apologise. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both? DP: Both. Sometimes I have a definite idea or concept and I go out and look for it, and other times, the images just find me. 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? DP: Equipment offers goods possibilities. I use a Canon EOS 77D. I don't have any preferred lenses. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? DP: I think I will continue to improve and experiment. I also see myself participating in photography groups, calls and photographic exhibitions. TPL: When I am not out photographing, I (like to)… DP: I work or I am with my family. I also like to exercise, play field hockey or go to the movies. PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. EPHEMERAL RHYTHMS A Long Term Boardwalk Visual Diary June 28, 2024 INTERVIEW PHOTOGRAPHY Edwin Carungay INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Embark on a journey into the creative world of Edwin Carungay, a senior graphic designer and multimedia producer based in the vibrant San Francisco Bay Area. Edwin has always had a profound connection with photography, allowing it to complement and enrich his creative pursuits. From 2017 onward, Edwin found himself being drawn deeper into the world of photography, inspired by the masterful works of Alex Webb and Nikos Economopoulos. Their ability to capture the essence of life through intricate plays of light, shadow, and candid moments resonated deeply with him, shaping the trajectory of his own photographic journey. Edwin's lens is constantly drawn to the raw and unscripted moments that unfold on the streets of his hometown and beyond. His photography seeks to encapsulate the genuine, unfiltered essence of human experience, celebrating the individuality inherent in everyday life's vibrant moments. His latest project, “Boardwalk Diary,” is a visual love letter to the iconic Santa Cruz Boardwalk and its surrounding coastline. Far removed from the polished glamour of Hollywood, this kaleidoscopic hub of fun has been a cherished American destination since its establishment in 1907. Edwin captures the colorful mosaic of humanity that converges on this beloved spot along the California coast. Each click of his camera’s shutter is imbued with a profound love for documenting the diverse tapestry of cultures and experiences that make the Santa Cruz Boardwalk a perpetual carnival by the sea. Join us as we explore the inspiration, techniques, and stories behind Edwin Carungay’s captivating imagery, and gain insight into the artistic vision that defines his work. “The Boardwalk Diary has evolved into a deeper, more poignant look at both tourists and locals, showing their highs and lows inside this makeshift environment. I like the challenge of working in this environment, keeping the focus on the people and not the amusement park.” IN CONVERSATION WITH EDWIN CARUNGAY THE PICTORIAL LIST: Welcome Edwin to The List! How does your background in graphic design and multimedia production influence your approach to photography? EDWIN: I feel that my graphic design and multimedia background helps to direct my focus on what I am capturing inside the frame. In the process, I often find myself gravitating towards the principles of visual hierarchy. I think it’s beneficial for me to begin thinking about each frame with this structure – and most often the best outcomes are because of outside forces. It’s those happy accidents that enter the rigidity of the frame that makes me smile. TPL: How do you balance your full-time job with your passion for photography? EDWIN: I’m very fortunate to have a career in a creative environment. I’m frequently working with and editing photos (that aren’t mine) at my full-time job. I’m around images that are in contrast to my own personal preference. I think being surrounded by images that are in contrast to my own aesthetics helps me to push my own work in a different direction – away from the mainstream. For the past couple of years, I’ve been working mostly from my home studio – and frequently on my breaks take a walk with my camera. During the spring and summer, I try to shoot every day before and after work. TPL: How has your photography evolved since you started being drawn deeper into the world of street photography? EDWIN: I have calmed down quite a lot in comparison to when I first started shooting on the streets. Someone once said I was “like a kid in a candy store” – when out photographing. I’ve become more discerning – and for me, this more calculated approach allows me to study the environment and the people within it, allowing more of the unique shots to come into my frame. TPL: What motivated you to start your "Boardwalk Diary" project? EDWIN: Initially, it was where I could go to interact with locals and tourists in a more densely populated and colorful environment. The more time I spent there, the more revealing it became of its cultural diversity and scope of emotions. At first, I was just thrilled to capture the amusement of it all. The Boardwalk Diary has evolved into a deeper, more poignant look at both tourists and locals, showing their highs and lows inside this makeshift environment. I like the challenge of working in this environment, keeping the focus on the people and not the amusement park. TPL: Can you share a particularly challenging or rewarding experience you've had while photographing for your project? EDWIN: The boardwalk isn’t a public space. So, you have to navigate carefully to balance being that obtrusive stranger – with missing once-in-a-lifetime opportunities. This is often the case in a public setting, but at the boardwalk, you are often being watched by security officers who have the best interest of its patrons in mind. A good friend and fellow photographer has been escorted out of the boardwalk several times. I tend to shoot first and talk my way out of any bad feelings afterwards. Ninety percent of the time, those after-the-shot engagements turn friendly. Those friendly conversations with strangers are sometimes interesting and can end with me taking their photo using their mobile phone. And sometimes, you encounter a family, and they want to chat about photography. It’s encouraging and reaffirming to talk to strangers who understand what and how you’re photographing. TPL: Can you discuss any recurring themes or motifs that appear in your photography? EDWIN: I mostly shoot in the early parts of sunrise and in the late afternoon. I’m looking for the softer sunlight where longer shadows persist. I like to include interesting shadows and silhouettes when possible. I also aim towards quirky, unsolicited poses, gestures and expressions. Photography is work in progress and patience through an enjoyable, physical pursuit. TPL: How do you find a balance between capturing spontaneous moments and planning your shots? How do you connect with your subjects when taking candid photographs? How do you navigate ethical considerations when photographing people in public spaces? EDWIN: In both familiar and new environments, I never have an itinerary or solid plan. I’m just always looking for interesting situations and interesting people. I do have a handful of favorite “fishing spots,” and those reveal themselves and become too obvious to the people present, and in the photos. I’m mostly just walking and studying, with camera at-the-ready. I try not to connect with the people I’m photographing. To capture those genuine, spontaneous emotions, I try to be unobtrusive and most of the time unseen. I navigate and treat strangers the same way I’d like to be treated. When I’m confronted with having taken someone’s photo, they usually just want to know “why?” and sometimes even ask if I can share a photo. I don’t get defensive. I’ve witnessed other street photographers get defensive and it usually escalates on both sides. I’d like to keep believing that I have a third eye for approaching strangers who are OK with having their photos taken – by a stranger. TPL: What role does post-processing play in your photography, and how do you ensure your editing enhances rather than alters the authenticity of the moment? Can you share some behind-the-scenes insights into your photography workflow? EDWIN: Early on, I never cropped or made any edits. I was proud of being a “purist.” But now, I’m fine with cropping in a bit. Sometimes there are distractions on the fringe. I shoot manually, and some photos require exposure adjustments – as moments happen quickly and often. When I was learning photography in the darkroom, we learned to dodge, burn and crop on an enlarger. These similar tools are available digitally and I sometimes use them without diminishing the moment. TPL: What lessons have you learned from your photography that you've applied to other areas of your life or work? EDWIN: Photography is work in progress and patience through an enjoyable, physical pursuit. I’m learning by seeing in real-time how my photography is evolving – through the process of patience and persistence. On most days, I don’t come home with anything noteworthy to show, but the experience of being out and about, thinking and studying the scenes are still valuable. There is value in the process. In my work, creative criticisms are expected, and you have to be receptive. You learn to know what appeals to others and what will ultimately be successful in their eyes. Entering open calls is much the same. You put your best out there for the critics, juries and judges to decide. And in most cases, you don’t get the first show, but there’s still value in the process. TPL: Apart from Alex Webb and Nikos Economopoulos who you have mentioned previously, do you have any other favorite artists that you would like to share with us, and the reason for their significance? EDWIN: My wife, Lesha Maria Rodriguez, who is also a photographer and artist, is an early influence on my photography and I give her credit for being the person to introduce me to street photography by showing me Alex’s book, The Suffering of Light. That frontispiece photo from San Ysidro, California of immigrants, officers and a helicopter in the field is etched in my mind – and lit the fire for me. Graciela Iturbide’s body of work is another inspiration. The beauty, attachments and prolific consistency throughout her documentary work is also often on my mind. She produces long term projects and books containing remarkable standalone photos that also fit exactingly to narrate a larger story. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on your Wishlist? EDWIN: The first camera I ever held and shot was my mom's Polaroid OneStep. That also felt like my first experience with what I perceived as adult technology. Of course, I had a bowl of water ready as well. The camera I’m using is a Leica M11 with a 35 mm. A friend has actually been encouraging me to get a Polaroid. So, that’s on my Wishlist. TPL: When you're not working or creating your visual stories, what would we find Edwin doing for leisure? EDWIN: I’m out walking our dog at least twice a day (with camera around my neck). So, even with this loving chore, I’m looking for interesting situations to capture. On most days, I fill my other times cooking and then relaxing on the couch, winding down the day streaming episodes or watching a movie. Going out to see my favorite bands play is also a great, but less frequent treat. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

EVERYDAY EXPLORATIONS Vajradhar Acharya is an explorer of the mundane and admirer of common people living their daily lives. EVERYDAY EXPLORATIONS May 13, 2020 INTERVIEW PHOTOGRAPHY Vajradhar Acharya INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Vajradhar Acharya is an Indian photographer with a unique eye for the ordinary. From the hustle and bustle of street markets to the tranquility of rural villages, he has sought to capture the beauty of the everyday lives of people across India. Since relocating to the United Kingdom for university studies, Vajradhar has continued to explore his love of photography, creating stunning images that evoke a sense of nostalgia and wonder. Join us as we explore the world of Vajradhar Acharya, as he describes himself - “a lover of good light and a clicker of pictures”. “I was always a creative person and almost went on to study art professionally. I still love woodworking and painting and they are something that I try to regularly do besides photography, but photography has been my main hobby ever since my dad bought me my first camera for my 15th birthday, six years ago.” IN CONVERSATION WITH VAJRADHAR ACHARYA THE PICTORIAL LIST: Vajradhar, describe your style of photographing to us? VAJRADHAR ACHARYA: I haven't quite managed to get a signature style I can call my own and it is very much in flux at the moment and it does change slightly every day and I look forward to see where it takes me. TPL: Where is your favourite place(s) to photograph? VA: I don't have a favourite place because I haven't travelled a lot, but my home town called Miraj in India and South Bank in London have to be on top of my small list! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VA: My favourite artists have to be Edward Hopper, Van Gogh and Saul Leiter and they have influenced my photography the most along with all the numerous artists I follow on Instagram who have impacted my work in one way or another. I think equipment is important in the sense that it shouldn't hinder your creativity but I find that most modern cameras are pretty good in that regard, so it doesn't matter much. TPL: Have you ever been involved in the arts before photography? VA: I have very much been into art since childhood and painting landscapes with oil pastels has been one of my favourite hobbies for a long time now. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? VA: The current projects I'm working on are called 'Smoking Kills' which is about normal people looking cool when they smoke but at the same time, alluding to the dangers of the habit and 'People on Phones' which is obviously about people busy with their phones and tries to show our relationship with the ubiquitous gadget. TPL: “If I wasn't photographing what would I be doing?... VA: If I hadn't received my first camera 6 years ago, I would very much still be actively involved with woodworking and painting but I'm too busy these days to do either of those and photography is currently my most favoured just because it is much more accessible than either of those.” PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

AUTHENTIC MOMENTS Vicki Windman shows us the beauty in the everyday details of her immediate world, no matter how mundane it may appear at first glance. AUTHENTIC MOMENTS June 10, 2020 INTERVIEW PHOTOGRAPHY Vicki Windman INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Originally hailing from New York, Vicki Windman is a now Boston-based photographer with an eye for the artistry of everyday life. Working mainly on the streets of her hometown, Vicki is passionate about capturing the beauty of small, seemingly mundane moments that often go unnoticed. She has a gift for finding unexpected beauty in her immediate world, inviting her audience to explore the often overlooked aspects of the city and its inhabitants. Through her lens, we come to appreciate the richness of a single moment, the texture of city life, and the grace found in its everyday miracles. “My dad was an amateur photographer, he had a great eye for irony. After an injury I had to come up with a way to find happiness, I had a mirrorless camera and decided to take a class...that was it I was hooked.” IN CONVERSATION WITH VICKI WINDMAN THE PICTORIAL LIST: Vicki, where do you find your inspiration to photograph? VICKI WINDMAN: I find my inspiration on the streets. I fell in love with Coney Island because of its authenticity. I felt like time stood still and memories flooded back to simpler times. I also love people. I love engaging with the people I meet. Sometimes I just snap...other times I banter. TPL: Has your style of photographing changed since you first started? VW: I think there is continuity in my style. I am willing to take more chances now and try different techniques. I have also slowed down looking more for the decisive moment. TPL: Do you have a quote or saying that fires you up? VW: "Sometimes life hits you in the head with a brick. Don't lose faith." - Steve Jobs TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VW: Hands down Vivian Maier is my favorite photographer. I also love Diane Arbus, Helen Levitt, Elliott Erwitt and Martin Parr. I think Vivian Maier influenced me the most because of who she was and how she looked at people, especially children. TPL: Where is your favourite place to photograph? VW: Coney Island, Williamsburg and now that I have moved to Boston I think it will be Revere Beach. I grew up with a very talented mother who is a designer. I believe her eye and my dad's humor groomed me for the art world. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? VW: I believe to become a good photographer you need to take pictures everyday. Take chances...life is short...so go with your gut. I am a street photographer. The best tip I can give is practice asking people - you have to smile- though right now is more difficult because of COVID. TPL: Have you ever been involved in the arts before photography? VW: Photography has been my first experience in the art world. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? VW: I have bought and sold so many cameras until I found two that work for me. So yes the equipment has helped me with my vision. If I had the opportunity to talk to someone first starting out I would suggest a camera without so many bells and whistles. I started with my iPhone. I also think if you want to learn take a class just in learning how to use your camera. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? VW: Right now I am documenting COVID - I hope I can photograph it in a different slant than others. TPL: “If I wasn't photographing what would I be doing?... VW: This is a great question! I honestly don’t know what I would be doing as I am limited physically. My other passion is technology so I probably would be engaging more in the world of apps.” PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

COLOUR BRICKS Having worked for many years in war-torn places, Tris now enjoys photographing the colourful lively streets of his home city London. COLOUR BRICKS September 25, 2020 INTERVIEW PHOTOGRAPHY Tris INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Tris is a London-based photographer who likes to go by his artist name @colourbricks. Having worked for many years in war-torn places, he now enjoys the lively streets of London, where he developed a passion for documentary and street photography. He is drawn to the colours, vibrancy and the story of life at home. Social media paints a world of perfection, beauty and unbridled consumerism, but Tris wants to take pictures on the better days: images that reflect the stoics, the optimists and those who don’t want to conform. His photographs show a London that is colourful, vibrant, extraordinary and ordinary. “I’m an old man but young at heart. Throughout the majority of my adult life I have worked in places full of chaos, confusion and sometimes terror. I have seen the resilience of people during the civil war in the Balkans, watched families torn apart in Belfast and Baghdad and been a front row witness to war in the Helmand and Mogadishu. The life I led then has now fortunately passed. After 30 years of being drawn like a moth to the flames of conflict, I am now drawn to the colours, vibrancy and the story of life at home.” IN CONVERSATION WITH TRIS THE PICTORIAL LIST: Tris, how long have you been a photographer? How did you get your start? TRIS: I have always enjoyed being witness to an unfolding story. When the time came to kick off my dusty boots three years ago I wondered how or what I would do next. Walking around London made me realise that there were equally exciting, colourful and dramatic stories unfolding in front of my eyes. Mercifully the stories were about people in a ‘peaceful’ city, but the sense of an unfolding, dynamic and time sensitive drama was like a magnet! I love the passion of street photographers, the requirement to be patient, discrete and humble one moment, confident and courageous the next. I realised that I had been making mental images throughout my life, but now I could make real ones. My family encouraged me to purchase my first camera in 2017, and from that point I haven’t stopped. Thousands of hours and miles wandering the U.K’s capital! TPL: Tell us a bit more about your documentary photography. How did you get involved with that? T: London is so vibrant, dynamic and busy that there is always something happening - and whether a protest, demonstration or parade, people don’t hold back in coming forward! My first Pride parade was incredible! So much colour and happiness, a genuine celebration of life and love. The LGBTQ+ parade was just so special. I didn’t stop taking photographs and realised that I had found my new 'fix'. Documentary photography was one of the ways I could still get that adrenaline rush - never knowing how an event may unfold, but being quick enough to react and catch that moment whenever possible. Regardless of the politics of Brexit, I went to all the parades both for and against, just to catch the story and witness how people felt and acted. I now try to attend everything, from employment strikes, Falun Gong and pro-choice demos, to Extinction Rebellion (XR) and Black Lives Matter. TPL: In your photographic approach, what are your favourite or most memorable moments? T: How I raise my hat to those who are bold enough to take nothing but candid shots! I endeavour to do so, I honestly do, but after a life of conflict I now shy away from it if at all avoidable. I mostly raise my eyebrows or lift my camera when approaching someone, and if they look friendly (or at least look like they won’t assault me!), I try to get some non-verbal indication that they are comfortable with my approach. My favourite relationship is with a shirt seller - he was very hostile and aggressive when I tried this with him on my first two or three protest demonstrations, but now whenever our paths cross in various corners of London we greet each other like long lost friends! TPL: Generally, where do you find your inspiration? T: My first photography book that I read was called Requiem, which was a collection of images taken by the famous Vietnam War photographers. I realised that if I wanted to address my PTSD, I would be better to focus on images I wasn’t so familiar with, so then dived into the work of Vivian Maier, Fred Herzog and Elliott Erwitt. If I am totally honest the two people who have influenced me the most are Sean Tucker, whose mature, reasoned, and generous Youtube videos are a godsend and @Kudo_Bass, whose every photograph and caption posted on Instagram are like stand alone photography lessons. I was lucky enough to recently bump into Sean Tucker in a London camera shop and embarrassed myself by acting like a 14 year old groupie as opposed to 54 year old veteran! TPL: Is there anything special you want to express through your photography? T: Life can be grey and miserable at times. We all have tough days. Social media paints a world of perfection, beauty and unbridled consumerism. Life isn’t like that, some days are good and some days are bad, but my aim is to try to take photographs on the better days - not saccharine, but images that reflect the stoics, the optimists and those who don’t want to conform. I try to reflect London’s colourful, vibrancy and the extraordinary. TPL: Do you prefer to photograph alone or with friends? T: I’m a loner and what friends I have left would say I was anti-social! My evenings and weekends are now selfishly guarded. Offers of collaboration (whilst genuinely appreciated) are not likely to occur anytime soon. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? T: Billie Charity was one of the first accounts I followed on IG, shortly followed by Ibi Gowon. Sadly I haven’t had the opportunity of meeting either of them, but their online support and encouragement were incredibly important in the first few months. There were times when I nearly gave up, and were it not for their infectious enthusiasm and kindness, I wouldn't have continued. I don’t think I have a style yet, I do my own thing and just take photographs of people and scenes that I find curious or interesting. TPL: What is the one quote that has had the most impact on you? “It’s way more important to know how to take a picture than to use a camera.” - Olivia Bee As a beginner I still have so much to learn, but my early anxieties about shutter speed and ISO settings dissolved when I read Olivia Bee’s quote. I started to relax and enjoy the process. TPL: Does the equipment you use help you in achieving your vision in your photography? If so, how? Do you have a preferred camera/lens/focal length? T: The Canon 5D EOS Mk IV is just a wonderful upgrade from my earlier camera. It felt like a huge self-indulgence, but I don’t smoke, drive a fancy car or motorbike and no longer drink to excess. While I love my camera, the truism that ‘the best camera is the one you have on you’ still amazes me, as some of my personal favourites have been taken with my iPhone. TPL: What are some of your goals as a photographer? Where do you see yourself or hope to see yourself in five years? T: In an ideal world I would have enough financial security to leave London and become a war photographer. I would like to capture the human stories. That seems slightly crazy given my desire to put those tragic times behind, but being involved in the unfolding story was like a drug. TPL: “When I am not out photographing, I (like to)… T: Walk my wonderful dogs. Two beautiful, gentle Tibetan Terriers who always seem ready to provide unconditional love and affection!” PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

The work should be viewed in the context of my book LANDSCAPES OF SOUTH AUSTRALIA, published by Wakefield Press. My previous publications, ADELAIDE NOIR and THEATRE OF LIFE were focused on, respectively, Industrial Art and Portraiture. The new book is a comprehensive photographic work that finds truth in landscape photography. This means that an honest artistic approach is required to see the landscapes as not only ancient and massive, but dry (driest state, driest continent) with marginal farming opportunities and a kind of rusted beauty that speaks of resilience and the triumph of human spirit. In terms of the continuum of my career, the series of landscapes tie together the threads of my film pedigree because I see my frames in terms of 'mise-en-scene', a device used by film makers. I believe that both landscapes and portraits require the aesthetical approach that a director would bring to film. Photography is not a passive art-form, of merely waiting and getting lucky. It requires the same approach and awareness and philosophical drive and desire that any contemporary art form requires. ALEX FRAYNE The work should be viewed in the context of my book LANDSCAPES OF SOUTH AUSTRALIA, published by Wakefield Press. My previous publications, ADELAIDE NOIR and THEATRE OF LIFE were focused on, respectively, Industrial Art and Portraiture. The new book is a comprehensive photographic work that finds truth in landscape photography. This means that an honest artistic approach is required to see the landscapes as not only ancient and massive, but dry (driest state, driest continent) with marginal farming opportunities and a kind of rusted beauty that speaks of resilience and the triumph of human spirit. In terms of the continuum of my career, the series of landscapes tie together the threads of my film pedigree because I see my frames in terms of 'mise-en-scene', a device used by film makers. I believe that both landscapes and portraits require the aesthetical approach that a director would bring to film. Photography is not a passive art-form, of merely waiting and getting lucky. It requires the same approach and awareness and philosophical drive and desire that any contemporary art form requires. LOCATION Adelaide AUSTRALIA CAMERA/S Yashica 124G 6x6, Nikon FE 35mm, Fujifilm GW1169 WEBSITE http://www.fusionjazzer.com/ @ALEX.FRAYNE @ALEXFRAYNEARENA FEATURES // Landscapes of South Australia