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PICTORIAL STORY THE INVISIBLE WORKERS May 28, 2020 PICTORIAL STORY Photography by Adrian Whear Story by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the crowded streets of Dhaka to the open-air kilns of its richly traditional brick factories, Adrian Whear's experience of Bangladesh was a journey into a world of culture and tradition unlike anything he had ever seen before. As a street photographer based in Melbourne, Adrian eagerly embraced the opportunity to travel to Bangladesh and photograph alongside the members of the Bangladesh Photographic Society. From his encounters with the friendly people of Bangladesh to witnessing their hard-working lives, Adrian's photos speak volumes about the hidden stories of this often-overlooked country. Through his pictures, Adrian beautifully captures the warmth and generosity of the Bengali people, while also highlighting the harsh realities of their struggle for survival in a rapidly expanding urban environment. Join Adrian on his incredible journey as he discovers the unique beauty of Bangladesh and its resilient people. “I would describe my travel experience to Bangladesh as real-world time travel. The Bengali people are economically poor, but so rich and generous in spirit and soul. I felt so connected to them that I wanted my photography to represent them all fairly and honestly. Their stories are mostly hidden from the majority of the Western world, and it is important for all of us to remember that all people are equal and deserve to be treated respectfully. I hope I have achieved this with my photography.” The first couple of days in Bangladesh were spent with Adrian trying to shoot his usual street style in the old part of Dhaka. “Everywhere I went, I would attract attention, people would follow me, and many curious eyes would stare at me. This made it near impossible for me to capture any candid street scenes. I posed for many photos, and I believe that there must be many images of me out there on Facebook in Bangladesh,” says Adrian. Bangladesh is a country with a rapidly growing population of over 160 million people. In the metro area of Dhaka alone there are over 21 million, which has resulted in a rapid urban expansion. This in turn has led to a high demand for cheap building materials, which has led to a thriving brick making industry. The land around Dhaka is full of high chimneys, spewing out thick smoke from the millions of bricks being burnt. The World Bank estimates that the industry here employs over one million people who churn out approximately 23 million bricks every year. These bricks are produced using an old method of mixing soil with water, which is then formed into bricks using wooden frames, then left to dry in the sun before being fired in traditional coal burning outdoor kilns. This process is almost entirely done by hand. Male and female workers of all ages travel from all over Bangladesh to get a job in these factories, where they earn between 300-800 Taka (US$3.50-$9.50) a day. For the poor, life is unimaginably hard in Bangladesh. Adrian remembers seeing the brick factories for the first time. “I was overwhelmed by the sheer scale of the factories; they were so large in area. I had not imagined them to be so vast. As far as my eyes could see there were bricks and chimneys. The landscape was flat, everything was at ground level except for the large number of chimneys reaching for the sky, spewing out grey smoke. What I immediately noticed was the dust, just so much dust in the air. Initially I did not see many people as they were working down in the open kilns. The first people I saw were the children, who were drawn to the Westerner arriving, whilst their parents were occupied and working.” Adrian virtually had unlimited access to anywhere within the workplace as long as he didn't get in the way. Occupational health and safety are non-existent. The workers are paid by the load, so they really cannot stop to pose for a photograph or stop to talk. Any interruptions to their work could potentially cost them some wages. Adrian prefers to photograph disengaged, as it allows him to enter a mindset where he is fully focused on the environment. He wants to capture the natural essence of the scene. But there were many times when he moved between being disengaged and engaged in Bangladesh, like times when someone would reach out to him. At such times he always tried to respond, whether that was just a knowing glance, a nod of the head or a passing word such as “Hello” or “Where are you from?”. “We would occasionally make eye contact for a short moment to connect, where you would just see and feel their humanity. A couple of workers asked me for some of my water, which I absolutely happily obliged. At the end of the day, it was time to relax. The older men would drink milk tea and smoke, the younger men would start up a game of cricket or soccer, the girls would start a skipping game, and the older women would gather together, talk and watch,” he explains. Seeing all this made Adrian put the camera down to connect with the Bengali people as much as he could, drinking milk tea, complete with six sugars and joining in and talking with the men. English is widely spoken. He joined in nightly games of cricket, and as soon as word got around, more people showed up to join in. “I soon became a combination of Ricky Ponting, Shane Warne and Adam Gilchrist! With the young girls I would skip rope and teach them clapping games. I'm sure I missed out on many great photographic opportunities, but I have memories that are priceless from these evenings.” Adrian was often captivated by the vibrant colours of the textiles worn by the women in total contrast to the bland background and brutal reality of the scene. In the West we are conditioned in many ways to still see this type of work as being 'mans' work, so the sheer brutality of this type of manual labor becomes even more obvious when you see the women and children also being exploited. Women workers suffer from a lack of secured employment, low and discriminating wages, and exploitative working conditions. Their way of life is perpetually in a state of continuous change. The women comprise about half of the total workforce of every brick factory. They generally are the wives of the male factory workers and usually take up the employment to improve the standard of living for their families rather than to achieve any independent status for themselves. The children cannot be left home alone and usually the older children will help the parents out in whatever ways they can. Although school is compulsory, parents often do not send their children, because out of the necessity for another meager wage to help support the family. Most of the girls in the age group 10-16 work alongside their mothers and the boys in the age group 10-17 work mostly in the loading and unloading from the truck. According to the United Nations Human Development Index 2019, Bangladesh ranks in place 135 of 189 countries for which report data exist. The mean years of schooling are 6.1. By comparison, Australia ranks in place 6 and has 12.7 mean years of schooling. Singapore ranks in place 9, with 11.5 mean years of schooling. “For me, it was very emotional to see the young girls carrying out this type of manual labor. At that time of travelling to Bangladesh, my daughter in Melbourne was 17, so I would often compare her life to her counterparts in Bangladesh,” says Adrian. © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear Whilst this story focuses mostly on Adrian's experience visiting the brick factories in Bangladesh, he also visited one in Kathmandu, Nepal. There are also thousands of brick factories located in India and Pakistan, all with very similar stories. Children everywhere, no safety equipment, illness, withheld wages, pregnant women, and no clean water. Workers are treated like slaves, and it has been going on for many decades. It is time for governments to take responsibility and end this exploitation that rightly should not be happening in the 21st century. view Adrian's portfolio Read an interview with Adrian >>> Instagram >>> Sources used in this story - World Bank Wikipedia | Bangladesh A. Mandal, Women Workers in Brick Factory: Sordid Saga from a District of West Bengal, 2005 United Nations 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. 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I am a physicist, an amateur film photographer and a mixed media artist. IVAN DOMARATSKIY I am a physicist, an amateur film photographer and a mixed media artist. LOCATION Moscow RUSSIA CAMERA/S Pentax SF7, Pentax ME, Mamiya RB67, Agat 18K @VANADIUM_DIOXIDE FEATURES // Pictorialistic Reality

THE CREATIVE CIRCLE John Lillie likes photography, it gives him the chance to be creative and to make images that combine design, information and emotion. THE CREATIVE CIRCLE February 22, 2021 INTERVIEW PHOTOGRAPHY John Lillie INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE John Lillie is a man of many talents. From his years as a triathlete to his lifelong passion for photography, his story is one of profound transformation and artistic discovery. John found himself inspired by the world of triathlon, captivated by its challenge and energy. As he immersed himself in the sport, he quickly developed an entrepreneurial spirit and launched his own triathlon magazine. However, it was not until he bought a camera to capture images for the magazine that his passion for photography truly blossomed. Since then, John has dedicated himself to the craft, taking summer courses at St Martins Art College and immersing himself in street and portrait photography. Now retired and living in Spain, he has been able to bring his creative vision to life through his work. His focus is to make images that combine design, information and emotion. John’s dedication has paid off; in 2020, he had six exhibitions of his work in galleries and exhibition spaces. His passion for capturing the beauty of everyday life has only grown and he continues to explore creativity and experimentation as he further develops his craft. “From my days of producing a print magazine each photo I took back then would involve some forward planning; how I would use the picture, where it would go, landscape, portrait or double page spread, all these options would be considered. Also, using film and paying for every frame, plus the processing fees, kept my shot rate low. I continue with this same mindset.” IN CONVERSATION WITH JOHN LILLIE TPL: John please tell us about yourself. How did you become interested in photography? JL: I am an Englishman, born in 1945. In my youth my passion was cycle racing. After racing I had various businesses - I have always been self employed. While working I still rode my bike and also played squash which led me into triathlon. I was a triathlete for a few years (a four times Ironman finisher). One day I was so disgruntled with the existing triathlon media that on a whim I started my own triathlon magazine (it still exists). I did not have a budget to pay for pictures so I bought a camera. This is how I became interest in photography. I stopped being the editor after 7 years but kept my Canon EOS1s and said goodbye to Fujifilm Velvia and gave up taking snaps. Twenty years later (2015) I bought a used Fujifil XT1 with pancake lens and walked around taking pictures of my locale. By now I was retired and living in Spain. Since then I have immersed myself in photography. To get some education, I have taken various summer courses at St Martins Art College in London, specialising in street and portrait photography. A little while ago I started printing and framing my best pictures, I liked seeing them in print so much that I put my energies into finding galleries and exhibition spaces. I have had six exhibitions in 2020. TPL: When you go out to photograph, do you have a concept in mind of what you want to photograph, or do you just let the images 'come to you', or is it both? JL: I look at people; not landscapes, not architecture, not animals, just humans. TPL: Do you have a favorite place(s) to photograph? JL: Somewhere new, different from home, a busy place, probably any foreign city, the more foreign the better. In 2019 I visited Kathmandu, a dirty, dusty, poor beleaguered city. But full of wonderful, amazing and beautiful Nepalese people. I made a collection of pictures that I am proud of, I hope to revisit one day. I look at people; not landscapes, not architecture, not animals, just humans. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? JL: I am inspired by many famous photographers and I regularly buy books (mostly second hand) but these four I like a lot: Mary Ellen Mark for her storytelling, André Kertész for his graphic design, Philippe Halsman for being astonishing and Duane Michals for a bit of all of them. Looking at some of these classic photos inspired me to take similar pictures which led me to a series of Homages - It’s fun to make a very similar but not a carbon copy of the original. I had my friends dress as Picasso and emulated the Robert Doisneau photo with bread in place of Picasso’s hands. I was visiting friends in Bali and bread wasn’t easy available so a couple of Picasso's had bananas for hands. TPL: What are some of your goals as an artist? Where do you see yourself or do you hope to see yourself in five years? JL: I like to print and hang my pictures in public spaces, it completes the creative circle. TPL: When I am not out photographing, I (like to)… JL: To keep moving; I still do my best to keep fit. 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.

HEART AND SOUL For Sofia Sitnikiene, photography is her medium of choice to express her artistic vision for documenting life as it unfolds. HEART AND SOUL March 8, 2020 INTERVIEW PHOTOGRAPHY Sofia Sitnikiene INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Sofia Sitnikiene - a graphic designer, artist, empath, introvert, and mother who has a unique perspective on life. Sofia has a passion for capturing the beauty of life as it unfolds, and she does so through her stunning photography. Her art is more than just a snapshot - it's a true reflection of the world around us, full of meaning and significance. Sofia's approach to photography is all about experimentation. She plays with light, texture, and tone to create breathtaking monochromatic photos that speak to the mind, heart, and soul. Her work is a true masterpiece - a perfect blend of art and storytelling. After giving birth to her first child, Sofia felt motivated to pick up her camera once more and capture memorable moments of her family's growth. As time passed, she grew a deep interest in creating images that reflected her personal emotions and perspective of the world around her. What drives Sofia's passion for photography is her desire to document life through images that matter. Her artistic vision believes that every moment is precious, and her goal is to capture that essence through her lens. “When I started, I photographed portraits of my children and documented all of our trips abroad. Later I focused on learning how to capture images that told stories, how to read and understand light and how to shoot in manual mode. Learning manual mode changed everything for me.” IN CONVERSATION WITH SOFIA SITNIKIENE THE PICTORIAL LIST: Sofia, can you tell us when you first became interested in photography?? SOFIA SITNIKIENE: I first started getting interested in photography when I traveled to Poland in 2007, it was an important trip and something that I wanted to do since I was a child. I visited the Auschwitz-Birkenau concentration camp and felt the need to document my journey, history has always fascinated me and I believe that it is important to understand it. I had also taken a film photography course when I studied graphic design in 1998. My mother was an artist and hobbyist photographer so I guess that this had a lot to do with my choices in life. TPL: Where do you find your inspiration? SS: From music, a good movie, a book, nature, my children and most importantly from emotions. I am a sensitive person, an empath and an introvert, this can be hard sometimes. Photography has a deeply spiritual aspect, going out to shoot can be uplifting. TPL: Where is your favourite place(s) to photograph? SS: In my home, a park when there’s good weather, the streets of London. I also love to travel abroad. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? SS: I think it helps but it’s not the most important thing as you can take a great image with your mobile phone or even with an old film camera. I still use my mother’s Canon A-E1 when I have the time. It’s about thinking, observing, understanding and practicing. There is always something new to learn, never stop learning. Don’t shoot what it looks like. Shoot what it feels like. - David Alan Harvey TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? SS: I think you have to love it and be passionate about it. I would say first learn how to use your camera, learn how to shoot in manual mode, understand how focal length affects the aesthetic of an image; after learn how to compose correctly, how to read light, how to observe the world around you, how to capture emotions, all of the small details; later you can learn how to edit in Lightroom, Photoshop or any other program that you feel comfortable with. TPL: Have you ever been involved in the artistic world before photography? SS: I was a graphic designer and illustrator for many years. TPL: Would you like to share any artists or photographers who have inspired you? SS: Ansel Adams, Henri Cartier-Bresson, Man Ray, Robert Frank, Steve McCurry, Vivian Maier, Alan Schaller, Meg Loeks, Jyo Bhamidipati, Julia Anna Gospodarou, Joel Tjintjelaar. There are so many photographers that have inspired me throughout my journey it would be hard to mention them all. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SS: Today I’m working on a series of images that capture the streets of London. It’s something that has always interested me, they are all in black and white. I am going to do a street photography workshop soon. TPL: “When I am not out photographing, I (like to)… SS: Paint and draw.” 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.

I've loved photography since I was a little kid - I remember finding a book on photography around the house and then carrying it around with me. Because I was too young to read I would just look through the pictures over and over. I've always loved the idea of being able to stop a moment in time and keep it forever. With street photography I enjoy finding the awesome in the everyday and often overlooked scenes and objects. Most of my work is shot around Central London - Soho, Chinatown and Greenpark. DARREN SACKS Out of gallery I've loved photography since I was a little kid - I remember finding a book on photography around the house and then carrying it around with me. Because I was too young to read I would just look through the pictures over and over. I've always loved the idea of being able to stop a moment in time and keep it forever. With street photography I enjoy finding the awesome in the everyday and often overlooked scenes and objects. Most of my work is shot around Central London - Soho, Chinatown and Greenpark. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm X-H1 WEBSITE http://www.darrensacks.com @SACKS FEATURES // Soho Shadows Out of gallery

WHERE LIFE LEADS During a trip to Croatia, Mattia Bullo explored the contradictions of a country split between its international image and its traditions. WHERE LIFE LEADS November 19, 2021 INTERVIEW PHOTOGRAPHY Mattia Bullo INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Croatia is a country of great contrasts. It is a land of captivating beauty, blessed with stunning coastlines, majestic mountains, and a rich cultural heritage. But it's also a country that is in the process of transforming its international image to EU standards in the hopes that it will gain admittance to the Union. It's this fascinating contradictions between past and present that Italian street photographer Mattia Bullo sought to explore in an ambitious camping trip through Croatia's most iconic destinations. Using a unique approach to his craft, Mattia looked to capture the chaotic energy of centuries of Balkan traditions while also conveying the evident desire for modernity. Shooting close and imposing his presence on his subjects, he waited to see what evolved, all whilst maintaining a humoristic look. He was determined to cause a reaction in his subjects rather than just being a passive witness of a scene. In this series, Mattia takes us on an adventure through Croatia, exploring the fascinating intersection of modernity and tradition. From dazzling vistas of serene beaches to intimate portraits of the people of Croatia, Mattia both captures and celebrates the country's complex and multifaceted identity. “This series is a documentary series of Croatia. I am very tied to the Balkans, half of my family is Slovenian. I spent three years of my childhood in Skopje, Macedonia. I grew up watching Emir Kusturica’s films. I am deeply in love with these beautiful countries and their amazing people: such a unique mixture of Slavic, Turkish, Greek and Roman cultures and languages. However, when I see how these countries are portrayed internationally, I often find that there is so much attention to where they come from and very little to where they are trying to go. This series, which is very likely over, was shot with one question in mind: what comes next for this country?” IN CONVERSATION WITH MATTIA BULLO THE PICTORIAL LIST: Mattia please tell us about yourself. How did you become interested in photography? MATTIA BULLO: I was born in Udine, Italy, and I currently live here as well. As a child I’ve lived in numerous places around Europe such as Berlin, Skopje and Venice. I initially started studying photography through cinema, where I always saw light behave in such interesting, variable and unexpected ways, often being not only a legitimate character but the protagonist of a scene. My interest for the phenomenon kept growing up to the point where I eventually had to start experimenting on my own. Slowly, ideas began to grow, knowledge started to pile up and I learned to love the photographic practice. Also, the book “Creative Photography” by legendary Italian photographer Franco Fontana really helped me find my way into photography as a beginner, suggesting very fun and effective exercises that I quickly became passionate about. TPL: What does street photography mean to you? Describe your style. Where or how do you find inspiration? MB: At this point, street photography has become necessary to me and to my well-being. It acts as medicine against sloth and apathy. It is a constant reminder that the world is such an amazing place if you know where to look. My personal style evolves around high contrast black and white photography, in which I like to introduce humorous and sometimes surreal elements. I like to photograph in a very proactive way, often hunting for subjects and scenes. When I see a picture I immediately start running towards it. As far as inspiration goes, I really don’t enjoy waiting around for it to magically strike me, often times I simply start taking the pictures with a very clear idea in mind, which serves as foundation, slowly letting the streets guide me wherever they want. I’m very careful for anything that might surprise me. I have always thought that inspiration only arrives once you are very, very deep into the work. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? MB: There have been many amazing moments: hilarious conversations with hilarious people; playing with strangers through the camera, both adults and children; exploring the wildlife of the mediterranean shore; swimming in the darkest waters under the full moon and waking up to the noise of squirrels playing on the trees above me. However, at the end of the day, doing photography is what has driven me to this adventure and what I have enjoyed the most about it. Hopefully photography will drive me to many more amazing places in the future. TPL: What are some tips or advice you would give yourself if you started street photography all over again? MB: My personal opinion is that to improve in photography the only way is to actually take the pictures, as many as necessary. Thus, my first advice would simply be to take more pictures. Taking a look at great photographers helps very much as well: studying their photographs, reading their books. There is also tons of instructional material on the internet: interviews, lectures, conferences, etc... Something useful that I would tell myself would be to start making use of this stuff as early and as much as possible. In other words: study, study, study. TPL: When you are out photographing - how much of it is instinctual versus planned? MB: In general, my work method is the following: I plan everything about the photos with precision, I schedule where, when and how I will photograph, sometimes I will force myself to adopting some limitations as an exercise, and I always decide it in advance. However, I never decide in advance what to photograph for the following reason: while I study photography, I use photography to study myself. It is always very fascinating for me to scroll through the pictures that I have taken and try to figure out why I chose a certain subject and a certain angle, and it teaches me about myself arguably more than anything. At this point, street photography has become necessary to me and to my well-being. It acts as medicine against sloth and apathy. It is a constant reminder that the world is such an amazing place if you know where to look. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MB: Franco Fontana’s book about creative photography is what got me introduced to this subject, also his photographs played a major role in my artistic education, even though he is technically considered a landscape photographer. Bruce Gilden is another big influence on me, his unscrupulous methods in particular, even though he appears to often be criticised for them. Dating further back in time, WeeGee is another photographer whose work really strikes me to this day. Referring to other artists unrelated to photography, if I had to pick the ones that have been most influential on my personal education, they probably would be contemporary japanese novelist Murakami Haruki and, obviously, J.R.R. Tolkien. 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? MB: I carry a Canon EOS M10, lovely lightweight camera. In general, I prefer wider angles such as the 22mm. According to the situation, I sometimes might switch to the 50mm to do geometry, but I never go higher than that. In reality, a wide angle lens is probably the only thing that is necessary for my photography. After all, what really matters to me is the content of the photograph more than the technical details around it. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MB: Within five years it would be amazing to make a living out of photography. I also will most certainly attempt to make my way into the film industry, at one point. If I ever get the chance to be a D.O.P for a feature film, that would be a dream come true for me. In the meantime, my attention will be directed to simply be a better photographer. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MB: What I’m working on right now is to improve as a photographer, as I said above. I do this by adopting certain environmental and technical limitations to further help give definition and a clear direction to my photographic genre. I have plenty of ideas regarding possible projects, nothing decided yet though. I plan to see where I will be at in around three/four months and will proceed from there. TPL: When I am not out photographing, I (like to)... MB: I like doing sports, mostly skateboarding and free climbing. Literature is also very important to me: I spend a lot of time reading, novels mainly, sometimes essays, anything at my disposal; if somebody wanted to harm me they should just take my E-reader away and the job would be done. I often listen to music as well. I am always greedy for new music, which is a mindset that I often encourage other people to adopt. You will never know what you might find until you will have found it; therefore, you have to look for it. 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.

BEAUTIFUL GEORGIA Ahmet Hojamyradov's series of Georgian landscapes reminds us of our true smallness in comparison to the overwhelming beauty of nature. BEAUTIFUL GEORGIA July 20, 2020 INTERVIEW PHOTOGRAPHY Ahmet Hojamyradov INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Ahmet Hojamyradov, a young and talented photographer from Minsk, Belarus, has been capturing the breathtaking beauty of nature through his lens for over a year now. Starting off just as a hobby Ahmet experimented with various genres, landscape photography has now become his primary passion. His landscapes remind us of our true smallness in comparison to the overwhelming beauty of nature. Recently, Ahmet has returned to Minsk after a journey through Georgia which has inspired him to share some of his most captivating photographs with us. Through these images, we can explore the mesmerizing landscapes of Georgia, and be reminded of the immense beauty that exists all around the world. Join us as we explore the spectacular work of Ahmet Hojamyradov, a photographer who captures the beauty of nature through his artistic lens. “A year ago, I had a tough time. My friends, Alexey and Valeria motivated me to try photography as a hobby. I have loved it since then.” IN CONVERSATION WITH AHMET HOJAMYRADOV THE PICTORIAL LIST: Ahmet, where do you find your inspiration to photograph? AHMET HOJAMYRADOV: Mostly, I find inspiration in traveling, people and architecture. TPL: Has your style of photographing changed since you first started? AH: Yes, it has! I started with architecture photography. Then it smoothly changed into landscape photography. Nowadays I do landscapes, some astrophotography and a pinch of portraits. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AH: Peter McKinnon, Alen Palander, Kai Böttcher, John Bozinov, Hannes Stier, Gueorgui Pinkhassov and many others. There are a lot of great artists whom I adore. But Peter is the one who influenced the most. I love his approach to shooting and editing his photos and videos TPL: Where is your favourite place to photograph? AH: I love shooting in the mountains and cities. Mostly, I find inspiration in traveling, people and architecture. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? Any tips you have learnt from others? AH: Yes, but not always! How you use your equipment is much more important. If you are new to photography, I would recommend not to get stuck in one style. Experiment with various genres! Sooner or later you will level up your photo game in general. Passion and diligence, I guess . To become a good photographer, it is essential to know everything about your camera. You will spend less time to set up your camera, that you can focus on your shot. TPL: Have you ever been involved in the artistic world before photography? AH: No, I’ve haven't. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AH: In the nearest future, I am planning to do some portrait series. Please, stand by! TPL: If I wasn't photographing what would I be doing?... AH: Probably, I would create music. 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.

I like photography, it gives me the chance to be creative and make images. My focus is to take a picture that combines design, information and emotion. Sometimes it happens. JOHN LILLIE I like photography, it gives me the chance to be creative and make images. My focus is to take a picture that combines design, information and emotion. Sometimes it happens. LOCATION Denia SPAIN CAMERA/S Fujifilm XT2, Fujifilm XT1 and Fujifilm X100V WEBSITE https://johnlillie.smugmug.com @MENFOT FEATURES // The Creative Circle

My mental health is something I've struggled with since I was teenager and as soon as I started getting acquainted with my first digital camera a few years ago, I quickly discovered it to be a useful tool in sorting myself out. Since then I've explored different genres and enjoy them all however it has been in self portraiture that I have really found myself. Photography has become a healing creative outlet for me and has saved me in many ways. ABBIE BRIGGS My mental health is something I've struggled with since I was teenager and as soon as I started getting acquainted with my first digital camera a few years ago, I quickly discovered it to be a useful tool in sorting myself out. Since then I've explored different genres and enjoy them all however it has been in self portraiture that I have really found myself. Photography has become a healing creative outlet for me and has saved me in many ways. LOCATION Madison UNITED STATES CAMERA/S Canon 6D Mark II WEBSITE https://www.abbiebriggs.com/ @_ABBIEBRIGGS FEATURES // Out of the Darkness

PICTORIAL STORY A TALE OF NATURE AND HERITAGE With words and images intertwined, Ana-Maria Alb leads us through the frosty winters of the Carpathians — where every turn reveals a story carved in mountain and mist. February 9, 2024 PICTORIAL STORY photography ANA-MARIA ALB story ANA-MARIA ALB introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The land of Bukovina, located in North Romania, is a region rich in history and teeming with natural beauty. For Ana-Maria Alb, it is a place that holds a special connection to her heritage and a deep love for nature. Her journey in Bukovina is one woven with a passion for exploration and a dedication to preserving its hidden gems. After living immersed in the lively cultures of Germany and Austria for a decade, Ana-Maria’s return to her grandparents’ hometown of Gura Humorului proved to be a transformative experience. It was there, surrounded by the majestic landscapes and vibrant forests, that she made the decision to relocate and dedicate herself to discovering and promoting the wonders of Bukovina. With her certification as a tourism guide, Ana-Maria was granted the opportunity to serve as a local guide, sharing the magic of Bukovina with others. Her days were spent exploring the valleys of the Moldova and Humor rivers, carefully documenting the nuances of the local flora and fauna. The forest paths became her canvas, each step revealing the breathtaking seasonal changes of the landscape. Through her keen observations, Ana-Maria has identified an impressive 70 species of birds and 50 species of butterflies in Bukovina. Her love for the region only grew stronger, and in 2021 she poured her passion and experiences into a book that captured the spirit of Bukovina. Ana-Maria’s book not only delves into the rich history of the region but also presents its geographical wonders, maps out hiking trails, and celebrates the diverse flora and fauna that grace the area. It is a true reflection to her love and dedication for this special place. The book caught the attention of local authorities, and with their support, Ana-Maria’s collaborative efforts resulted in the creation of four hiking flyers. What had started as a personal passion for nature and outdoor walks organically evolved into a deeply satisfying profession. Today, Ana-Maria takes great pride in her role as a guide for Humor Valley’s natural wonders. She shares the region’s history, leads fellow nature enthusiasts through its breathtaking landscapes, and promotes its unique charm. This transition from a wanderer to an authorized local guide not only reflects a professional evolution but also a heartfelt commitment to preserving and celebrating the timeless beauty of Bukovina. Ana-Maria’s journey in Bukovina has not only enriched her own life but also inspired others to explore this captivating region. Through her various experiences in the Danube Delta, Transylvanian villages, and hiking through the Carpathians, she has collected countless stories and photographs that can captivate readers’ interest and serve as inspiration for them to travel to these places. Ana-Maria shares one of her many captivating stories - The Frosty Winters of the Carpathians . With her words and photographs, she invites readers to join her on a journey through the breathtaking Carpathians. Snow and freezing temperatures persist for weeks during the harsh winter in the Carpathians. I write these words thinking of all the wonderful people I met in Bukovina. They taught me how to fully appreciate as well as understand the charm of this place. Come with me on a peaceful journey to enjoy the pastoral settings of northern Romania, in the regions of Bukovina and Maramureş. (Pictures 1-3) After a week of heavy snow and blizzards, the sun lit up the entire Rodna National Park. Starting by car early in the morning from Gura Humorului, we arrived at the Prislop Mountain Pass, which ensures the connection between the historical provinces of Bukovina and Maramureș. Located at an elevation of 1416 m, the natural setting of the mountain pass takes your breath away. Majestic peaks frame the spot, the Rodna and Maramureș Mountains, the latter being the natural border of Romania with Ukraine. Our hiking trail to Gârgalău Peak is splendid; the first part is a walk on a mountain plateau, then a climb on the path made in the snow. From here followed the steeper climb, with several short breaks. Groups of hikers could be seen on the ridge, others behind us. The sun was sending its rays to our frozen faces. There is a little more and a little more. Steamy breaths could be heard with every step. (Pictures 4-6) At the top, at last! With a height of 2158 m, Gârgalău is the fourth-highest peak in the Rodna Mountains ridge. Everyone experiences joy in their own way. The wind's whispers reached even under the hood and cap that covered my head. I turned north-east, my back to the sun, and couldn't stop marveling at the magnificent setting that unfolded in front of my eyes. A warm shiver took over my whole body. Everything around me was so sublime: the ice embroidery, the shine of the snow, the white peaks of the mountain range…A stinging wind touches every inch of exposed skin. A few minutes facing the sun, a few photos, and we set off for the descent path. How lucky we were that we already had the tracks made by other hikers! Arriving at the Prislop Pass parking lot, we enjoyed a tasty meal at the restaurant. In a short time, the hot and spicy soup soothed our red faces and warmed us up. Late in the evening, I arrived home with the same joy that I have every season when I admire, from the valley and from the top, the greatness of these mountains. (Pictures 7-8) Another cold winter morning. The car was going up the road, freshly cleared of ice and snow. The trees are adorned with rime ice, and smoke rises from the chimneys of the houses towards the blue sky. In the north-western part of the Suceava county, alongside the Romanians, live the Hutsuls, an ethnic group of Slavic origin. Their history is still shrouded in mystery, remaining throughout the centuries a compact community spread over the Carpathian area of northern Romania and Ukraine. Respect for traditions, religious and community holidays, and their own lifestyle are features that make this ethnic group something distinct and unique. This Hutsul ethnic group has always had a close connection with the surrounding environment. The horse was the main form of travel in these mountainous areas where they live. Specific to the community is a small, friendly, hardy horse. Its origin is Carpathian; currently, there are several breeding centers. The use of these horses by the Austro-Hungarian imperial army enabled the Carpathian horse breed to gain widespread recognition. Their toughness was also put to the test during the two World Wars. In Romania, the Carpathian horse (hutsul pony) can be found in Suceava county, Moldova-Sulita locality. The craftsmanship with which they make and decorate household items, clothing, and household objects is representative of the Hutsuls civilization. The Hutsuls culture blends perfectly with the pastoral natural environment of the Carpathians through their wooden farms located in the valleys or on the meadows of the hilly coasts, near the forests. For centuries, the main source of existence for these mountain farmers had been provided by this small Carpathian horse. (Pictures 9-10) We leave the village, and the car goes up the country road through the forest that stretches along the border between Romania and Ukraine. We reached the village of Lupcina, at an elevation of 1000 m above the sea. Once, the forests of Lupcina were the land of wolves, hence the name of the village. At the end of the street, after the last house, right next to the forest, there is a wonderful wild meadow. A multitude of wildflowers grow here in the summer; the freshly cut hay smells divine; and colorful butterflies fly gently, giving you the feeling that you are in heaven. If you look up, you can see far away the hamlets and the vast Carpathian Forest beyond the border. Time stands still. In winter, this peace at the end of the world embraces you. The thick fog is slowly falling over the forest. The trees look like biscuits sprinkled with sugar. The wooden fences are silent, frozen in the snow that covers the whole Carpathian world. A crow makes another sound and flies away quickly. At the entrance to the forest, we stop to devour the last reserves of food. From the village, you can hear a dog barking; otherwise, there is a penetrating silence like the cold mountain air. The way back means crossing the forest and then entering a county road. How strange it is, every time, the return to civilization. (Picture 11) Between the towns of Gura Humorului and Câmpulung Moldovenesc lies the valley of the Suha River, a tributary of the Moldova River. The pastoral landscape of the Stânișoara Mountains is delightful; the villages scattered on the sloping coasts have wooden households, and the plots are marked by rustic fences. The locals are engaged in raising animals, working in the forest, and cultivating plants. Here, life is still archaic; everything is based on the peasant calendar, the change of seasons, and the difference between day and night. Suha Valley preserves the autochthonous lifestyle of the first inhabitants of this area, those who founded small communities in the middle of dense forests. The traditional houses combine wood and stone, the course of life in some villages, still follows an archaic rhythm. The gastronomic segment recalls the influences of all the ethnic groups that lived in Bukovina, the folk costume is a textile jewel or combination of textile, leather, fur and contains elements preserved from generation to generation. (Pictures 12-13) The lowest temperatures are usually recorded in January. In recent years, there have been exceptions. On a day when our resistance to the cold was tested as seriously as possible, we took a short hike in the Humor valley, not too far from my home. The river was completely frozen, and we were moving forward with difficulty through the hardened snow only on the surface. We arrived in the center of the village and met some friends. Their invitation to go for a snack in the old house they had from their great-grandmother could not be refused. The small house had a nice veranda with wooden beams. The fire lit on the old stove quickly warmed the room. For several minutes, I admired the shape of the frozen embroidery on the surface of the small window facing the street. In a short time, two plates of traditional food were placed on the table. Steaming potato slices were brought from the stove. These accompanied home-made sausages, smoked ham, onions and peppers, pickles, and cow's and sheep's cheeses. In the evening, I bravely set off for home. When closing the door, I felt a sting on my hand after touching the doorknob. A frosty night was coming. Until the city, only the eyes could be seen on our faces, everything else was covered. The snow crunched loudly with every step. (Picture 14) A special moment in the winter is when I build a snowman. It's my way of forging a spiritual bond between myself and that location. Finding the necessary materials is not difficult; leaves, branches, seeds, and what is uncovered by the snow all help to bring the character to life. Therefore, when leaving, it's also necessary to say goodbye to someone - in my case, the snowman. (Picture 15) This wooden fence has the same vitality as a deeply rooted tree, in my opinion. These fences charge themselves with solar energy, become one with the earth they stand on, absorb the sap of the plants that grow nearby, and become cleansed by raindrops. How could there not be life on this fence? It appears that winter is nature's napping season, with nothing to rouse it from. A far-off human voice is sometimes the only sign that anything is, in fact, happening, including your own breathing. This snow-covered environment has left a deep mark on me: a sense of familiarity and belonging to everything around me — a place I can definitely call home. About Bukovina and Maramureș - Spread over the territory of seven countries, Slovakia, the Czech Republic, Poland, Hungary, Ukraine, Serbia and Romania, the Carpathian Arc is one of the treasures of this continent. Virgin forests, meadows, peaks and mountain plateau are home to a multitude of representatives of flora and fauna, diversity that must be preserved, the balance of the trophic chain being ensured by these species of mammals, birds, insects, plants, fungi. Half of the area of the Carpathians lies on the territory of Romania. Specific to these mountains are vast forested wild areas, mid-altitude peaks, and large valleys. Before 1775, Bukovina belonged to the Principality of Moldavia, after that year it was annexed to the Austrian Monarchy. The interactions between the communities, the exchange of cultures and the patrimonial wealth of each ethnic group, brought Bukovina a plus in its economic, administrative and cultural evolution. After the disintegration of the Habsburg Empire, Bukowina returned to the Romanian sphere, and after the Second World War, the territory in the northern part was taken over by the Soviets. Today, the north of Bukovina belongs to Ukraine and its south to Romania. Before the Second World War, the population of Bucovina consisted of Romanians, Ruthenians, Germans, Jews, Poles, Hungarians, Czechs, Slovaks, Lipovian Russians, and Italians. In what follows, the term for Bukovina will refer to its south, Suceava County, Romania. The neighboring county, Maramureș, has a similar past. From its status as a voivodeship, it was integrated into the Austro-Hungarian Monarchy after 1688, and from 1919, its southern part was included in the territorial unit of Romania. Its north belongs to Ukraine today, with the Tisza River being the natural border. Picture 3 © Ana-Maria Alb Picture 4 © Ana-Maria Alb Picture 5 © Ana-Maria Alb Picture 6 © Ana-Maria Alb Picture 7 © Ana-Maria Alb Picture 8 © Ana-Maria Alb Picture 10 © Ana-Maria Alb Picture 11 © Ana-Maria Alb Picture 12 © Ana-Maria Alb Picture 13 © Ana-Maria Alb Picture 14 © Ana-Maria Alb Ana-Maria Alb’s journey is a compelling example of how personal heritage and a deep appreciation for nature can evolve into meaningful cultural and environmental advocacy. Her work as a local guide, author, and documentarian reflects a sincere dedication to preserving and promoting the unique character of Bukovina. By combining storytelling, research, and lived experience, she brings this remote and richly layered region to life for others. Her efforts not only foster a greater understanding of northern Romania’s landscapes and traditions but also inspire a broader appreciation for the quiet beauty found in places where history, community, and nature converge. Take some more steps into the land of Bukovina with Ana-Maria’s photography in her portfolio and let its beauty captivate you. view Ana-Maria's portfolio Website >>> Instagram >>> Facebook >>> 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. 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. 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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.

DISCOVERING MY COUNTRY Chichek Bayramly is an architect from Azerbaijan who loves to discover and document new places and faces of her native country. DISCOVERING MY COUNTRY July 12, 2021 INTERVIEW PHOTOGRAPHY Chichek Bayramly INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Nestled between two formidable mountain ranges lies the beautiful nation of Azerbaijan, a country of immense natural beauty and centuries-old culture. For Chichek Bayramly, this land is not just home, but an opportunity to explore and capture the wonders of its rural life and stunning architecture. Through her photographic project, 'Island in the Mountains', she has sought to bring the gems of her hometown to the world. From the vibrant colors of local attire to the intricate designs of traditional buildings, Chichek has shown the beauty of Azerbaijan with her lens and earned recognition from the Tbilisi Multimedia Museum Grant program for women of Caucasus. Join us as we explore the world through her eyes and discover the hidden treasures of her homeland. “My first photo project 'Island in the Mountains' was made in the frame of Tbilisi Photography and Multimedia Museum's grant programme. It is about the specific village named Khinalig, located 2300 meters above sea level in southeast Azerbaijan. It has its own language and interesting architecture (each house roof is the terrace of the house on top at the same time) with colorful interiors, decorated carpet patterns. The main task of the programme was to show the isolation. Photographic scenes address the ambiguous narratives probe tensions between human connection and separation, women labour and childhood, intimacy, and isolation.” IN CONVERSATION WITH CHICHEK BAYRAMLY THE PICTORIAL LIST: Chichek, please tell us about yourself. How did you become interested in photography? CHICHEK BAYRAMLY: I was born in Ganja city, Azerbaijan and have lived in different cities of Russia since I was 7 months old. In Kazan, Russia I studied architecture. My interest in photography started after exploring my family archive photos. Every summer holiday we came into our apartment in Ganja - the first thing I did was to sort through all the photo albums. I started my trip into photography when I was 14 years old with my fathers old Zenit 122 camera. At first I shot with no idea how that camera works, just intuitively. I fell in love with the process of shooting, the long wait for seeing pictures made me excited. I moved to Baku, Azerbaijan in 2014 and continue my photography experience here. TPL: Can you tell us what your series 'Island in the Mountains' is about? How did the idea come about? CB: My first photo project 'Island in the Mountains' was made in the frame of Tbilisi Photography and Multimedia Museum's grant programme. It is about the specific village named Khinalig, located 2300 meters above sea level in southeast Azerbaijan. It has its own language and interesting architecture (each house roof is the terrace of the house on top at the same time) with colorful interiors, decorated carpet patterns. The main task of the programme was to show the isolation. Photographic scenes address the ambiguous narratives probe tensions between human connection and separation, women labour and childhood, intimacy, and isolation. TPL: Do you have a favourite place to photograph? CB: I have found that I rarely take pictures in the city I live in: my daily life is too intensive, and I can not observe things happening around. Mostly I travel to regions of my country when I get "hungry". I find inspiration in nature, architecture of villages and people living there. TPL: Do you have any favourite artists and photographers? CB: I have photographers whose works I follow, but I do not make them my favourites, just to avoid copying them subliminally. I prefer to watch drawings of some artists to get inspiration on composition, colors, and mood. 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? CB: Usually both Mostly I travel to regions of my country when I get 'hungry'. I find inspiration in nature, architecture of villages and people living there. 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? CB: My favourite camera is the Fujifilm X series. Now I mostly use the Fujifilm X-E2 and sometimes I bring with me my new Sony a6400. Compared with Fuji we could not make a strong connection between us yet. But with Fujifilm I can show things as I imagine them before shooting. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? CB: I try not to make big plans for the future. Usually I find solutions spontaneously, at 'that' moment, and try to develop new things, make some experiments. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CB: For now I have some important projects in architecture, so I can not focus on photography. TPL: "When I am not out photographing, I (like to)… CB: Make sketches, collages, sculptures, dream and just observe." 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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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.

I am a self-taught passionate advanced amateur photographer. ASSIA STARKE I am a self-taught passionate advanced amateur photographer. LOCATION Vienna AUSTRIA CAMERA/S Canon 5D, Canon EOS R @STAR_ASSIA FEATURES // Special Light