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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

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

PICTORIAL STORY SHADES OF THE COALMAN In the wooded hills of Tuscany, an ancient craft still breathes. Simone Batini follows the fading trail of the coalman — capturing the rhythm and legacy of a trade passed down through generations. This is more than documentation; it’s a tribute to hands that keep history alive. April 14, 2023 PICTORIAL STORY photography SIMONE BATINI story SIMONE BATINI SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In the small town of Pescaglia, located in the Serchio Valley, immersed in the woods of the Italian hills of the Tuscany region, the art of the Coalman is handed down. An ancient and very important trade in the past for this area, because coal was at that time the engine of every house and of many craft activities such as the ironworks present in this area. Luigi Massei is nicknamed “the last charcoal burner” who still today, keeps this trade alive, which Luigi has passed on with passion to his son Arturo and grandchildren Diego and Fabio. It is a hard and complex process that begins with the accumulation of wood, deposited outdoors in a flat area usually close to the forest. From here, the process to obtain coal starts, which develops in the phases of winding, shoeing, veneering, combustion, drawing, cooking, leavening and finally packaging. A hard job, between sweat and smoke, no distractions are allowed for the entire process, where the charcoal pit is kept under control day and night. In the end, the result obtained is an excellent quality coal, which today is no longer used as a lucrative activity. At the end of a long day, in the main image above, Luigi's worn, and dirty hands hold a photo that has a very important meaning for him, between the hope and the feeling that this art will be preserved for many more years and generations for the Massi family. An old farmhouse in the first light of the morning, frames the place where the processing takes place to obtain the coal. The eye (circular access hole) is located at the top of the Carbonaia, and is used in the subsequent phases to feed the fire inside. Luigi and his son Arturo seek the right balance to correctly position the first part of the wood. With a lot of patience Luigi continues the work and arranges the wood in a circular way, the charcoal pit slowly takes shape. The covering phase, carried out with care, consists in covering the charcoal pile from the bottom upwards first with a layer of hay. And then with one layer of earth. Continued, then ending with the positioning of a circular basket which acts as a temporary cap, so as to keep intact the only access point to the heart of Carbonaia. The infuocatura is undoubtedly the most spectacular process. The charcoal burner equipped with a wooden ladder reaches the top of the Carbonaia from where they light the fire inside. A powerful smoke is released. The fire is fed slowly with the addition of small pieces of wood. Then Arturo manually closes the hole/eye using portions of earth obtained from the nearby field. The fire in the absence of oxygen burns slowly and without flame so as to transform the wood into coal. Between dust and smoke the Carbonai carry out the decarbonation, a phase in which the coal is separated from the earth and isolated to be collected with a lot of effort and sweat. © Simone Batini The work is carried out non-stop. © Simone Batini The coal is finally collected and placed in ancient cloth sacks to then be weighed, each sack is partially closed using wooden twigs where the exact weight is written above. © Simone Batini © Simone Batini Simone Batini’s Shades of the Coalman project strives to document the traditional trades and crafts that are slowly being replaced by industry and social changes in the Tuscany region of Italy. Through this project, Simone has done an incredible job of capturing the beauty of the hard and complex process of making coal and telling Luigi Massei’s story of passing on his trade to his son and grandkids. It is clear from this project that Simone wants to preserve and document this ancient art for future generations. To see more of these projects please visit Simone's portfolio and read his stories. view Simone's portfolio View other projects by Simone - Times Past >>> An Artist's Place >>> Read an interview with Simone >>> Instagram >>> 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.

I write on urban issues and document urban life in all its forms. I get my drive from my curiosity and the diversity and dynamics of the cities. My focus is on street photography and documentary photography. I am lucky that my work has been published in German and international magazines. MIRKO KARSCH I write on urban issues and document urban life in all its forms. I get my drive from my curiosity and the diversity and dynamics of the cities. My focus is on street photography and documentary photography. I am lucky that my work has been published in German and international magazines. LOCATION Berlin GERMANY CAMERA/S Nikon D7500 and Lumix LX 100II WEBSITE https://streetwise.photography/ @SIR_MIRKO FEATURES // Daytime St. Pauli

PICTORIAL STORY THE FRANKINCENSE BOY In the village of Poshina, France Leclerc met Sahib — a young boy whose quiet curiosity and calm presence created a moment of shared connection. January 19, 2024 PICTORIAL STORY photography FRANCE LECLERC story FRANCE LECLERC introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Originally from Quebec, Canada, France Leclerc is a photographer who has developed a sincere passion for visual storytelling. Being Canadian is an integral part of who France is; she embraces her French heritage, language, and culture. France spent much of her adult life in Montreal until attending graduate school at Cornell University receiving her PhD in management. After receiving her degree, France became part of the faculty at MIT School of Management, as well the University of Chicago Business School, where she was a professor of global marketing. While residing in Chicago it became apparent to France that the path of academia was not the right direction for her, she lacked the passion and commitment that her colleagues who were fully devoted to their work. She decided to change her direction and took a series of classes in a small photography school in Chicago. France found comfort in her steps forward on her new path, continuing to take workshops to feed her new passion, and inspire new ways of critical thinking through the use of her camera. Taking time off gave France a new start, a chance to rediscover the world in new ways. She started traveling to remote areas in Ethiopia, Tibet, Myanmar, each time returning from her excursions with a fever to tell her stories. This is when life changed for France, she had found her passion. Her love for traveling to other places around the world has provided ample opportunity for her to immerse herself in many different cultures. France finds authentic connections in the communities she engages, giving her a clear voice that speaks for the people she photographs. “As a child, being part of the French minority in English Canada, I learned that one may have to fight to preserve a culture. Maybe this is where my interest in cultures originated, I don’t know. I have always been fascinated by the 'world' and curious about its diversity, challenges, and the resilience of human beings, particularly women. I have spent time in over 100 countries, and I have visited many of them multiple times.” Now residing in Chicago, France has spent many years traveling while searching for clues and answers to better understand human behavior, why people behave the way they do. This search has fueled France’s curiosity throughout the years, inspiring what she has defined as 'Life Photography'. Her focus has allowed her to capture the beauty in the moment, making visual and emotional connections inherent to different cultures in society. “I am interested in portraying the way people live, play, eat, dress, interact, celebrate, pray and love. My interest in photography is closely related to my interest in storytelling. Coming back from a trip, I have so many stories to tell, and what better way to tell them than with images.” France’s documentary exploration often brings her to obscure out of the way places around the world, where she embraces the community finding captivating stories for her visual translations. Recently she has turned the focus of her camera to streets, where contemporary life and issues inspire her frames. “I aim to document what I see and share it with the world. When I return from a trip, I write stories around my images and post them on my website. I have over 100 of them now. I hope that the more people know about other cultures and ways of life, the less threatened they will feel by them, and who knows, maybe they will get inspired by them as I often do. It is probably a naïve view, but I feel so privileged when I learn something new I have to assume others, at least some, feel the same way.” France has shared one of her captivating short stories with us, it is a beautiful example of exploring with open eyes and with a clear mind discovering endearing connections to community, respectfully sharing their stories with genuine interest and care for her subjects. This intriguing story takes place in the village of Poshina, Gujarat. I met Sahib in Poshina, a village in the northern state of Gujarat, close to the border with Rajasthan. At dawn, I started walking in the town. I first noticed that a few people were sleeping on the streets, some on a platform in front of an array of small shops. A young boy was awake among them, standing next to a pile of blankets. I waved at him, took a quick photo, and continued to explore further. A couple of hours later, as I retraced my steps to return for what I felt was a well-deserved breakfast, I saw this young boy again. He was sitting on what I assume was his mother’s lap, next to an older boy and a much older lady. The older boy was Sahib, ten years old, looking serious and responsible. I sat with them for a while and learned that the younger boy was his little brother, and the older lady was his grandmother. His father meandered toward us at a later point. Sahib is not from Poshina; he is a wanderer or an itinerant. His family does not have a home. To earn a little money for the family, he burns frankincense in the top tier of a three-tier vessel. Sahib goes around the village, stopping at houses and shops to offer them the smoke and smell of his frankincense that he shares using a small piece of cardboard as a fan in exchange for a few coins. This is his life: he does not go to school; he walks around offering to “purify” people’s lives through a little sniff of his frankincense. After chatting briefly, Sahib announced that it was time for him to start his round, and I decided to follow along. And so, Sahib spent the next few hours in the streets of this small village, chatting with the shop owners, knocking at doors of family homes in narrow streets, and meeting people, some of whom he knew but also new ones. All are welcoming Sahib and his frankincense. At the end of his route, Sahib announced that he was done and was now going to another village for the afternoon. I asked him whether his family would sleep at the same place as last night and if I could return to say goodbye the next day. He said yes. So, at dawn the next day, I went down to the platform where I had seen the little boy the previous morning, ready for another adventure with Sahib. Sadly, nobody was on the platform. I will never have the answers to the million questions I had come up with the previous day, and I will probably never see Sahib’s smile again except in my images of him. But I will never forget our brief time together. © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc France Leclerc is an observer, listening with her ears and her eyes. She brings her stories to life, allowing the viewer and reader to step into the frames, helping them to make the same valuable connections to the cultures and communities she portrays. As a traveler and visitor to global remote communities, France has found a way to assimilate herself into the cultures she visits, as an observer. Her observations have given her purpose to help expose some of the constraints, misguided views, and blind assumptions made towards individuals or groups in communities globally. Photographing her subjects, France portrays them illuminated in the light of their own being, revealing intimate details through her investigations. She is humbled by her surroundings and shares a true respect and admiration for the people she engages and is mindful and has much admiration for their traditions and daily practices. France’s visual storytelling has been embraced by the photographic community and has been exhibited in numerous curated exhibitions winning prestigious awards. Most recently, her images won third place at the Miami Street Photography Festival in 2022 and third place at the Lens Culture Street Photography Award in 2023. One of her series was a gold medal winner in the Culture and Daily Life category of the Julia Margaret Cameron Award in 2023 and two of her series were included in the Curated Selection State of the World at the Prix de la Photographie, Paris, also in 2023. Her work was featured in Geo Magazine, Dodho Magazine, Lens Magazine and All About Photo. The Pictorial List is grateful for France’s commitment to humanity, and for sharing the inspiration that has provided her with the brilliant ambition to explore and understand the world through her photography. We look forward to the next chapter in France’s novel about humanity and how different cultures navigate sociological constraints as well as celebrate their freedoms. view France's portfolio Website >>> Instagram >>> Twitter >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. 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SOCIAL STUDIES Argentinian photographer Victoria Gonzalez Garcia finds inspiration in her environment and explores social themes. SOCIAL STUDIES July 31, 2020 INTERVIEW PHOTOGRAPHY Victoria González Garcia INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Victoria González García is an Argentinian photographer currently based in Madrid. Born in Buenos Aires, she studied Social Communication at the University of Buenos Aires, then went on a student exchange scholarship to the Carlos III University of Madrid, Spain. She specialized in Photography, Film and Political and Social Video at the Complutense University of Madrid, Spain and is currently studying through distance learning for a diploma in Social Photography (The Camera as a Tool for Social Research) at the University of Buenos Aires, Argentina. We interviewed her for The Pictorial List. “Photography was always a part of my life, the Kodak reels and cameras. I remember that when I was little I loved posing for photos, my parents recorded my childhood and that of my sisters, our life, the acts at school, when we lost our first teeth, Christmas, holidays and every episode that marked something important for us or for our family. At 21 years old, I started to get interested in the photographic world and decided to start studying, so my parents gave me my first analog reflex camera as a support and incentive.” IN CONVERSATION WITH VICTORIA GONZALEZ GARCIA THE PICTORIAL LIST: Victoria, where do you find your inspiration? VICTORIA GONZALEZ GARCIA: I find it in life, in everyday life, in what surrounds me. But I am also restless and curious, it motivates me to learn new things all the time, whether it is discovering photographers, getting to know their work and careers, watching documentaries about photographic projects, knowing the history behind them, going to exhibitions, festivals, meeting people of that world and exchanging concerns. Trying new things, getting out of my comfort zone, shooting and giving myself up to the mere process of creation. TPL: Do you have a favourite genre of photography? VGG: I am very interested in the social, the documentary, and of course this is due to my social training. I want my camera to be a tool that helps me to visualize stories that can raise awareness or at least leave people thinking about some issues, be they social, political, cultural or ideological. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VGG: Saying I have a favorite artist or photographer would be a lie. I like many. For example, William Klein, Vivian Maier, Annie Leibovitz, Henri Cartier Bresson, Diane Arbus, Sara Facio, Paz Errazuriz, Adriana Lestido, Marcos López, Chema Madoz, Man Ray, etc., the list would be endless! I cannot say that only one has inspired my style, I think all of them have, and even some that I have not named above. Both photography, painting and cinema have set a precedent for me and have forged my style. TPL: Do you have a favourite place to photograph? VGG: No, I have no favorite places, all places can be great. I think more what defines it is not the place itself, but the connection with what you are photographing and what is generated around that relationship. Art is not a mirror to reflect the world, but a hammer with which to hit it. ~ Bertolt Brecht TPL: What characteristics do you think you need to become a 'good' photographer? Any tips or advice for someone just starting out? VGG: I think you can have the best camera in the world, but if you don't have a good eye, you don't have anything. I feel that the best advice I can give to those who are just beginning in the art world of painting with light, is to practice, to shoot a lot, to investigate, to study, that if something does not turn out as you would like, do not be discouraged, keep going, practicing. At least that's what I keep doing. A phrase that I say a lot when asked about this is "practice makes perfect". TPL: What camera(s) do you use? Do you have a preferred lens/focal length? VGG: I have two favorite cameras, my digital camera and my analog camera that has a 50mm lens which I usually use in my digital camera, exploiting all the artistic possibilities that it can offer me. TPL: Have you ever been involved in the arts before photography? VGG: No, never, the artistic world was always there and I was on the opposite side of the road, contemplating those things, from different fields that fascinated me. TPL: Are there any special projects you are currently working on? VGG: Yes, I am presenting 'Intervenidas', my first photographic and illustrated project carried out collectively among women that was born during the quarantine. It is a small series of my photos, which I sent to six women illustrators of different nationalities, so that without parameters or prior artistic criteria, they would “intervene” in them, trying to cross styles and two disciplines, photography and digital illustration. TPL: “When I'm not out photographing, I... VGG: I am thinking of the next photo I want to take.” PORTFOLIO INSTAGRAM read more interviews >>> 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. 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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.

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