PICTORIAL STORY FESTIVALS IN SICILY May 7, 2021 PICTORIAL STORY Photography by Agata Lo Monaco Story by Valeria Tardo (translated from Italian) SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The photographic project Festivals in Sicily was born from the intention to tell, through images, celebrations and religious rituals of ancient tradition that still play a prominent role in Sicily. The choice of reportage photography is linked to the desire to weave a visual narrative capable of combining the analytical perspective with a documentary slant, with artistic expression. Agata Lo Monaco's gaze captures faces, gestures, details and overall views, selecting and returning to the observer's eyes segments of a reality that is both objective and intimately subjective, a reflection of an individual feeling from which a non-verbal discourse full of suggestions unfolds. The photographs Agata took in 2014 in Gela on the occasion of the feasts of San Giuseppe and Madonna dell' Alemanna are the result of a contemporary point of view that aims to capture the underlying ancestrally of religious cults that are also characterized by a marked theatricality, for a devotional fervor that takes the form of a complex of external elements that refer to the staging. The use of black and white emphasises the pathos of photographic representation and is connected to the stylistic choice of Ferdinando Scianna, a Sicilian photographer who in the 1960s developed a work with a similar subject. Of the feast of St. Joseph, which takes place on the 19th of March, the artist fixes the most characteristic aspect, namely the setting up of the so-called altars in the private homes of those who thank God for having granted them grace, for having heard a prayer. These are in fact large tables set to represent particular votive offerings (ex-votos) , foods and food products made with a function attributed to them, which refer to the concept of votive offerings that was already present in polytheistic religions prior to the advent of Christianity. They are practices that testify to humans' atavistic search for contact with the divine sphere. At the end of the party and the exposition of the ex-voto to visitors, the food is eaten during a sort of ritual lunch presided over by three people, usually of humble socio-economic background, who symbolize the members of the Holy Family. On the first of May (May Day) the same Saint is celebrated in his persona of a worker, and on this occasion an auction of goods donated by the faithful to the Church takes place in the town square, which also includes the presence of live animals (poultry and sheep). The photos show, with great insight, the generational contrast in the perception of a strongly folkloristic scenario that seems to have little to do with spirituality. The body language and the looks of the participants speak of this contrast. Agata immortalises the veiled restlessness and the noticeable disturbance in the astonished gazes of the children, who reveal a certain empathy towards the suffering and fate of those animals with their legs tied, being treated as if they were inanimate puppets. They are counterbalanced by the pride and cheerfulness of the adults, exemplified in particular by the showy smile, almost a grin, of an old woman who has just won a rooster. It is inevitable to ask if the strength of a devotion that crystallizes into tradition will continue to guarantee its survival. On the feast of Maria Santissima dell' Alemanna, which is celebrated from the 5th to the 8th of September, Agata's documentary captures the moments of the exit of the consecrated statue of the Virgin Mary from the church, with the crowd of faithful extending their hands to heaven. The procession includes stops dedicated to the undressing of newborns for the blessing of the priest, they are raised upwards, in the direction of the statue of the Madonna, by a priest. The children's clothes are then bought back by the parents themselves so that the proceeds can be donated to the poor. Finally, there is the so-called paliantino or cuccagna a mare , on the Gelese beach. A horizontally arranged pool supported by two trestles is placed in the water, and the competitors are asked to walk the surface, sprinkled with grease and soap, trying to catch the flag placed on the opposite end without falling into the sea. A sporting competition inserted in the context of the feast in honor of the patron saint of the city that makes one think of the gymnastic competitions of the ancient Greek civilisation, the athletic competitions connected to the cults of the Panhellenic sanctuaries, such as that of Olympia, or the Athenian Panathenaic festivals that commemorated the goddess Athena, protector of the polis. In reality, the veneration of the Madonna dell' Alemanna has its roots in the early modern age, originating from the discovery, in 1476, of a medieval Marian icon that is believed to have been brought to Gela by the Knights of the Teutonic Order. As the Teutonics' were called Alemanni on the island, the Madonna was given this name. The origin of this fascinating custom is uncertain. © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco Agata's photographs possess an almost bodily intensity and a fervent evocative charge and artistic sensitivity, and so they manage to transmit in a palpable way the mingling of sacredness and materiality that distinguish Sicilian religious holidays, as heritage of a varied and deeply stratified culture. view Agata's portfolio Read an interview with Agata >>> Website >>> 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 >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

PICTORIAL STORY SHALL WE DANCE September 11, 2020 PICTORIAL STORY Photography by Shawn Byron Danker Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Shawn Byron Danker is a Singapore based photographer and photojournalist. In this ongoing collaborative project, Shawn visits performers across modern, classical, and urban dance genres in various cities to celebrate, question, and juxtapose the nature of the global city with dance. His layered compositions are no mere celebration of the beauty of the body in motion, the cityscape no mere contextless backdrop, no mere showcase of a single dance form. They are a mesh of genres whose complexity and wit enables audiences to discern and appreciate movement, shapes, patterns, and background in a given context. In 1937 Fred Astaire and Ginger Rogers tap-danced across the silver screen to music by George and Ira Gershwin in Shall We Dance , the seventh of the famous Astaire-Rogers musical comedy films. In his films, Astaire often danced in everyday settings and used ordinary items as props, most often indoors but sometimes in outdoor settings too. He probably would have been appreciative of the way dance evolved from the ballroom out into the street. But Shawn's title inspiration actually comes from another film by the same name, the Japanese 1996 comedy Shall we dansu? “The female lead was why I fell in love with dance as a kid,” Shawn told us. Modern dance involves many different categories and styles. The umbrella term street dance refers to all dance styles that evolved outside dance studios, in open (though not necessarily outdoor) spaces, including of course in the streets, but also parks, schools, and even nightclubs and private party settings. Generally, though there is a heavy emphasis on urban settings. Contact among dancers and spectators is often a given, and styles tend to evolve from particular social settings. The most famous style that is universally known is the highly athletic and powerful break dance (“b-boying” and “breaking”, as the dancers call it), which was developed by African American youths in the US urban spaces of the 1970s and, popularised in several 1980s films, from there spread around the world. There is a bewildering variety of street and vernacular dance styles nowadays, such as krumping, popping, contact contemporary, variations on jazz dance, and many more. But dancing in the streets is not limited to typical 'street styles'. Shawn has made it his mission to take all types of dance, even classical ballet, out into the urban jungle. In his photos, even pole dancing has made it out of strip clubs and (more recently) fitness studios into the streets and onto urban poles such as those upholding traffic signs. Shawn spends much time thinking about suitable locations and makes the setting part of the dance. Rather than blurring the background, he purposely works with it. “What is the point of taking the dancers outdoors if your backgrounds are not going to matter in the shots?” he asks. So he shoots his dance scenes with a relatively open aperture of F4. A part of his art direction is that the location should have meaning, help set the mood, and reveal character. The space around the dancer should enhance their presence and impart a richer meaning to the frame. Shawn uses a lot of film theory when scouting locations and planning his shoots. He looks for anything that helps to build an engaging mise-en-scène. This may include the quality of light and shadows, the colours, and most importantly the shapes that the structures impart to the scene. Sometimes it can take him years to finally figure out how to best use a location for maximum visual impact. Shawn also tells the dancers that they’re not dancing in a vacuum, that they should be using their bodies to tell a story about how the scene makes them feel. When he initially set out to shoot contemporary dance he found himself with a particular conundrum: Most general audiences with no dance training, himself included, find it difficult to understand what they are watching. But people do not seem to have problems understanding shapes and figures. So he decided to showcase contemporary dance by telling the dancers he photographs to be as statuesque as possible with their gestures. For example, one day when he noticed the architecture of the corridor in one of Singapore's oldest public housing buildings created a spectacular light show, Shawn decided to try to bring the scene to life. He experimented with it for a few years until he got the shot that he wanted with Hwa Wei-An. “It was quite difficult to find a day when the dancer's availability matched up with the right weather conditions. The spiral you see here was inspired by tai chi,” he jokes. He shot this with a slight camera movement technique to create a pronounced spiral effect. In general Shawn prefers to give only vague directions and lets the dancers decide what moves they want to make but discusses with them beforehand the story he would like the pictures to tell. “When I started on this series, I used to come into the shoots with a preconceived move I’d want the dancer to do for the shot. But I slowly began to realise that the best shots I ever got was when I let the dancer freestyle their moves.” Shawn uses different dance genres to create different moods. Even though ballet is the most widely photographed dance genre today, Shawn goes out of his way to document the genre as well. He does this because he wants his dance body of work to be as diverse as possible. For ballet he looks for locations that position an edgy environment against the ballet dancer’s “etherealness”; soft versus hard. When you think of ballet, the image of the genre that comes to mind is often either dancers performing on stage in a theatre or in a studio setting. Ballet dancers usually do not battle or jam. That’s what street dancers do. But Shawn decided to take three ballet dancers, Jemma Braun, Rab Flanigan and Ethan Slocomb, and tell them he wanted to see them jam with one another and “battle” each other, all while having fun. Someone mentioned that this little jam felt like watching a real life West Side Story. “I guess that’s what it might look like when ballet dancers take a page out of the street dancers' playbook and head out to the streets and battle to push each other to be better dancers,” he says. Graffiti can be very tricky to work with. Shawn has always opted to try to be clever with murals by either making the subject look like they're a part of the painted scene or compose it so there is some kind of contrast. This takes a keen understanding of how light and negative space work. Place the subject wrongly and they disrupt the balance of the mural and end up looking flat and two-dimensional. Do it right and you’ve got beauty in your hands. The quintessential dance that comes to most people's mind when thinking of street dance is of course breaking, and Shawn has worked with a number of dancers showcasing this style. One of his frequent collaborators is legendary B-boy Sonic, Daniel Sonic Rojas, who is also the creator of a style he calls Embodied Dance Movement, using body mechanics to find the rhythm in all movements, and a master of what he calls contemporary break: a fusion of contemporary dance and break. Thanks to his love of Kurosawa, Shawn always tries to incorporate some kind of motion within his scenes. “I am shooting movement after all so there should always be some sense of kinetics within my frames,” he says. It can be through actual movements or the implication of movement via gestures. Shawn brings all the Melbourne dancers he works with to a particular narrow lane because he is planning to create a mosaic as an anchor piece for the Australian version of the Shall We Dance exhibition; it would be entitled We are Australia and is intended to celebrate the country’s diversity. He also uses the narrow space as a mental exercise to stimulate the dancers' creativity. Constricting their space forces them to take stock of their abilities and come out with something that pushes them to another level. Some experienced dancers have surprisingly struggled there. The “coke-bottle” dance was another shot that took years to create, six to be exact: five to find this place with the coke bottle mural, and one more to finally use the location in Shawn's mise-en-scene, because the coke bottle was covered in tags the year he found it. They were driving by this particular spot the morning of a planned photo shoot when Shawn noticed the bottle had been cleaned up and decided he wasn’t going to pass up the opportunity to finally use the spot. Shawn's first pole dance themed dance shoot was five years in the making. Pole dance fascinates Shawn because of the amount of sheer physicality involved in what the dancers do when they work their magic. “The goal with pole dance for me is to break the negative stereotypical association with strip clubs.” But it is also the most difficult for him to shoot logistically because he needs to find the right 'pole' in the right location with the right light. But when it all comes together there is magic. To the viewer, shots like the two below must also seem like magic. They are actually multiple exposures composited into one frame. Shawn does not do too many of those, as it requires working with a tripod, which he finds very cumbersome. “Tripods are tricky because once you set one down in public security pounces on you even if you're not in anyone's way.” The effect of such a composite image is however, quite wonderful, as, rather than showing an instant in a dancer's motion it can convey almost the entire sequence. Shawn had only one try to get a series of shots of contemporary dancer Azusa Fukushima at Tokyo's Nishirokugo Park within one take. The park warden had come over to them to politely point out that the tripod Shawn had set up was not permitted in the park. “After we were done with the shot, that little boy in green kept following Azusa around like a puppy. I think he was experiencing his first crush after watching her dance,” Shawn chuckles. Jaymie-Kristen Tsamoudakis (@jaymie.kristen) and Ben Carter (@benny.carta) at the Victoria State Library in Melbourne performing a “contact contemporary” dance. © Shawn Byron Danker Contemporary dancers Bonnie Su (@bonsu) and Daniel Lewis (@daniel.e.lewis) perform at a tram stop in downtown Melbourne. © Shawn Byron Danker Shawn wanted this shot with dancer Hwa Wei-An (@thenoisyhwa) to look as if the dancer is manipulating the space with his arm movements. © Shawn Byron Danker Brooklyn Terry Wright (@brooklynterryef) is a pioneer of the hip hop movement and is a legendary house style dancer living in Tokyo. They created this shot in a shopping arcade. Terry had found that umbrella and decided to play with it and that was what ended up being a winning picture, created out of an experiment where he was told to show the joy he feels when dancing. © Shawn Byron Danker Contemporary dancer Kaeden Trinh (@okaeden_) juxtaposes himself with the Melbourne subway. © Shawn Byron Danker “Be water” (Bruce Lee). Chinese water sleeves had been on Shawn´s to do list for a long time, and he spent years trying to find the right dancer to go with the right location for the right juxtaposition and ambiance. Ballet may be known for projecting a sense of etherealness, but, Shawn thinks, no other genre better showcases a sense of fluidity, transience and grace than chinese water sleeves, used here to great effect by Pang Xin Yi (@purplepang365). © Shawn Byron Danker Ballet dancers Jemma Braun (@jemma.braun), Rab Flanigan (@rab_flanigan) and Ethan Slocomb (@ethan_slocomb) “jamming”. © Shawn Byron Danker British tap dancer Josh Glavin (@joshglavin) expressing the type of feeling he gets when working on stage, but in a famous narrow street of Sangenjaya, Tokyo. © Shawn Byron Danker Not Peter Pan, but jazz and contemporary dancer Kaeden Trinh (@okaeden_) happily flying out of the subway station in Melbourne. © Shawn Byron Danker Shawn discovered this stairwell with beams of light shining into it. So he and his friend Daniel Sonic Rojas @danielsonicrojas decided to do a quick improv dance session right there and nailed this shot within 5 minutes before the light changed. They managed to work quickly without any prep time thanks to Daniel´s experience - he is a legendary figure in the break dance world. Shawn has shot with Daniel in several other locations, always getting stunning results. © Shawn Byron Danker "If I could walk like the animals." And walk he did. Daniel is always surprising Shawn with something new. © Shawn Byron Danker Daniel is looking cocky in a back-lit freeze that took a lot of work to get the perfect mash up of light, shadow, gesture, rhythm and movement. © Shawn Byron Danker Daniel wanted to use the Helix bridge in Singapore as a backdrop to get an image there with the crowd weaving in and out. © Shawn Byron Danker In this subway shot both the subject and the background are moving. Shawn and Ryoji Tsuchiya (@2ucci_tucci) tried to do this shot differently many times, but their original attempt of matching the subway train was what ended up working the best. © Shawn Byron Danker Nadiah Biddle (@nadiahbids) is “krumping” (an expressive, exaggerated, and highly energetic type of street dance) in Melbourne's narrowest laneway. © Shawn Byron Danker Ben Carter @benny.carta and Jaymie-Kristen Tsamoudakis @jaymie.kristen adding life to a mural with an incredible jump. © Shawn Byron Danker Yoshimi Higo (@hkanon1112) is showing her pole dance skills here. © Shawn Byron Danker Contemporary dancer Azusa Fukushima (@az.ion7nohi) at Tokyo's Nishirokugo Park. © Shawn Byron Danker The show will always go on in Tokyo with Brodie Norris Pullar (@buroburo28). © Shawn Byron Danker Shawn's dance photography project continues, and so we shall have to watch his page again for future awesome dance shots from time to time. Cover image: Kevin Scott Watson (@kevinscottwatson) and Lauren Watkins (@lauren___watkins) in Ginza, Tokyo. Middle image: Jessica Angelique Gabrielli (@jagiroha_movement) dances a fusion of performance art, belly dance and contemporary in Hosier Lane in Melbourne. A local passerby remarked that an angel had descended upon Hosier Lane when she saw them working. Footer image: Hafeez Hassan (@hafeezhassn) is paying tribute to Michael Jackson in this choreography in Singapore, which Shawn put together as a composite of multiple images. view Shawn's portfolio Read an interview with Shawn >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

SPATIAL LANDSCAPES The spatial landscapes Fahim has presented are a testimony to the inspiration he has found through the love of his Bangladesh community. SPATIAL LANDSCAPES May 11, 2022 INTERVIEW PHOTOGRAPHY Ahsanul Haque Fahim INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Ahsanul Haque Fahim is a passionate photographer from Bangladesh who is devoted to creating stunning photographs that capture the beauty and emotions of his environment. His love for photography began as a hobby, but he quickly realized its potential to capture and express powerful moments. This discovery led him to pursue studies at the renowned Pathshala South Asian Media Institute in 2021. Fahim's ability to express the beauty of his environment through his lens is truly inspiring, and through his work he gives us a glimpse into the lives of people in Bangladesh. He captures the viewer’s attention with his honest and poetic imagery. Each photograph captures a particular moment in time that could easily go unnoticed in our day-to-day lives. He believes there is beauty to be found in the simplest of places and his series entitled ‘Month of December’ is a testament of this belief. This series offers an intriguing excursion into the strictness of the winter season, while focusing on the resilient spirit of his community. In his interview with The Pictorial List, Fahim gives us insight into how he approached this project, and what he wanted to depict in his spatial landscapes. Let’s dive into this interview and get to know more about this talented photographer, and gain further appreciation for his captivating work. “I like the simplicity in this series. I am a believer of beauty is in what surrounds us. It's not always about going to exotic locations to find beauty. We seem to never find the beauty in our own neighborhood that it has to offer us. It is absent in our perspective. This series challenges those perspectives.” IN CONVERSATION WITH AHSANUL HAQUE FAHIM THE PICTORIAL LIST: Ahsanul, please tell us about yourself. When did your journey into photography begin? FAHIM: Just call me Fahim! I am currently 25 years of age. I am from Bangladesh, coming from a small town named Brahmanbaria. Talking about the surrounding environment it is not that artist friendly or you can say photographer friendly. It possess kind of conservativeness, religious conservativeness in that sense. So the society here doesn’t provide open window, scope of encouragement for artistic minds. Obviously you may wonder how I get myself into the field of photography! In fact photography isn’t something that comes by default to me. My family and I didn't have any involvement with camera whatsoever. It never was my first choice. Digging more into my past, back into my teenage years, I wasn’t serious about life and future planning. I aspired to be a cricketer. Cricket was my sole passion. Time passed by, I finished high school and took admission into college. Those were the early years of smartphone evolution in my country. I am talking about early 2014, when the smartphone took over the market by storm. I also had my first smart phone around that time. With the smartphone there comes the camera. There were few friends of mine who were very into mobile photography, and were able to blur the background using just a smartphone camera. I regarded it very cool at that time. They always took those snaps tentatively showing me whether I could capture a few similar to that. It was kind of throwing a challenge to me. That’s how I got involved in taking pictures, with mobile phone snaps. Yes, you could undoubtedly find tons of flaws in these photos, but those were the images that ignited the fuel inside me. I had found my new interest in this form of photography. Few years passed by, it was 2016 and I completed my college studies. In between that time, an uncle came to visit with his camera and gave it to me for use. The camera was Sony Alpha A330 with a default kit lens. Getting the camera pushed me to uplift my photography level. Now, that I had a dedicated camera, it was time for me to get serious about photography. In order to master the skills in the field of photography, I needed academical knowledge in order to pursue. Then comes the “Pathshala” chapter in my life. There is a senior brother from the neighborhood that suggested taking admission into “Pathshala South Asian Media Institution”. Based in Dhaka, the country’s capital, this particular institution is renowned to be the finest Photography and Cinematography learning institution of the country. I wasted no time to take admission. At the beginning it was a one month Basic Course in Photography. I wanted to pursue further to dive into the advance knowledge. I decided to take admission into the one year Professional Course in Photography. I submitted my portfolio and underwent face to face interview where thankfully I got selected and that is how my journey into photography began. It wasn’t easy for me considering the fact that I had to cross such long distance from my hometown to Dhaka by train in order to attend the classes. It was three day class in a week, and it was cumbersome, but my passion kept me going. There, I have learnt almost everything from basic to advance, most importantly they have taught me to develop pair of eyes to see stories. So you can conclude the one academic year that I have passed there has shaped my life into photography. TPL: How have the streets and culture you capture influence your photography? F: All of our South Asian countries including Bangladesh and India are known to be densely populated. Here you will hardly find any major streets without any hustling crowds. These streets are my part of my life. Still to this very date whether its about going to University or grocery shopping I’ve been to the streets. For mostly being crowded, you will experience so many spontaneous moments happening simultaneously. Whether it’s a snake charmer playing his tricks or a stranger chasing to board a travelling bus, all these moments are purely raw stories, candid emotions. It is the beauty of raw stories, the unrepeatable moments with in the crowd, the unpredictability of what gonna happen next intrigued me to invest into street photography. TPL: Talk to us about your photographs in this series. When and how did this series first manifest for you? What is the full story behind the series? What was the inspiration? F: So it was a study project under my one year professional course where I was given the assignment to do spatial landscapes. The month was December, midst of an intense winter. So I wanted to utilize the foggy atmosphere to create a obscure aesthetic through my photographs. The location was a brick field. Brickfields have been notorious, especially in this part of the world for desecrating the atmosphere as well as violating the workers rights. When I went to the location it was at dawn covered by the dense fog creating a whimsical view to the surroundings. But not for long as in the background the chimneys of the brick field evidencing their plundering over the environment. I like the simplicity in this series. I am a believer of beauty is in what surrounds us. It's not always about going to exotic locations to find beauty. We seem to never find the beauty in our own neighborhood that it has to offer us. It is absent in our perspective. This series challenges those perspectives. TPL: Do you have any favourite artists you would like to share with us? F: I sure do. Quite a few. Garry Winogrand (Photographer), Fan Ho (Photographer), Alex Webb (Photographer), Steve McCurry (Photographer), Bruce Gilden (Photographer), Hasan Chandan (Photographer), Leonardo da Vinci (Painter), Lalon (Folk Singer, Philosopher), Chester Bennington (Singer). TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? F: Hasan Chandan. If you have seen this photos, it will make you wonder how effortlessly he was able to find and see extraordinary among ordinary frames. As a street photographer that is something I want to achieve, to be able to see and find extraordinary moments in very ordinary frame. And who else could be better teacher than Hasan Chandan himself! It is the beauty of raw stories, the unrepeatable moments with in the crowd, the unpredictability of what gonna happen next intrigued me to invest into street photography. TPL: When you are out photographing - how much of it is instinctual versus planned? F: I am someone who always believe that producing art can’t be preplanned. Especially when it is applicable to street photography when the outcome moment is very unpredictable. Yes, I mean you can plan on maintaining a theme if you working on a series based work but you can’t plan for a unpredictable outcome. There are few of my own favorites which I didn’t even plan for shooting on that particular day. I was on a regular walk and somewhere there I saw something interesting going on. So I opened my smart phone and captured them. You see there is a famous saying is that “Unplanned trips are the best trips”. Same applies in street photography. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? How much post-processing do you do? F: I have been using the Nikon D7200 for quite a while now. And in street photography where everything is happening very quick and fast, this camera struggles. Yes it does produce rich color and details though I want a lightweight and fast focusing small in size camera. As I am more into capturing delicate fraction of second moments. I am looking for mirrorless or maybe shift into a point and shoot camera sooner or later. Although 35 regards as the standard focal length for street photography, I don’t believe to be limited by a certain focal length. I prefer focal lengths according to the situation and composition demands. I don’t rely much on post processing. Basic correction such as light adjustment, color adjustments are generally I do. TPL: What are some of your goals as an artist? Where do you hope to see yourself in five years? F: As a photographer my goal is to remain alive through my photographs. After a time I won’t be here anymore but my photos will be. When ever someone will be see my photos, I want them to instantly recognize the man behind capturing the photo. Currently I am studying at University along with taking photographs occasionally. In next five years I want to obtain a decent portfolio. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? F: It is a personal project where I want to cover all the cultural and traditional festivals of Bangladesh. TPL: “When I am not out photographing, I (like to)… F: Explore new places.” Fahim's amazing photography is a reminder of the incredible beauty in the world around us. His passion and commitment to capturing powerful moments is an inspiration to anyone interested in photography. The 'Month of December' series is a stunning example of Fahim's work and is sure to captivate viewers everywhere. We invite you to explore the world of photography through Fahim's lens and experience his unique, heartfelt perspective. VIEW FAHIM'S PORTFOLIO Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

I have set out to document the remains of Great Britain’s inter-war architecture. Amongst these ageing structures lie what is left of the country’s first steps into the Modernist movement. Often in need of sympathetic renovation, occasionally on the brink of demolition, but increasingly seen as important pieces of our heritage, I've have been capturing what is left of ‘yesterday’s future’ while it remains standing. I’ve always been captivated by the progressive architecture of the inter-war years. The architects at the forefront of the Modernist movement took such a huge leap in both concept and aesthetics. I’m fascinated in how this bold European style manifested in the UK, blended with its surroundings and how well the buildings have fared the test of time. In addition to this architectural work, I harbour a fascination for night-time photography. My new book 'Small Hours' brings together a 12-month project capturing artificial light sources after dusk in and around my hometown of Great Malvern. My photographs have been published in a number of different magazines and newspapers including C20 Magazine, RPS Journal, La Vangaurdia, Digital Camera, The Modernist and The Guardian. 2019 saw the publication of ‘Odeon Relics’, a photo-book documenting the surviving buildings constructed by the iconic cinema chain in 1930s. This hardback book features my complete contemporary photo series, period photos by John Maltby and an introduction by architectural writer Jason Sayer. I have also contributed an image to Elaine Harwood’s 2019 ‘British Art Deco’ published by Batsford. PHILIP BUTLER I have set out to document the remains of Great Britain’s inter-war architecture. Amongst these ageing structures lie what is left of the country’s first steps into the Modernist movement. Often in need of sympathetic renovation, occasionally on the brink of demolition, but increasingly seen as important pieces of our heritage, I've have been capturing what is left of ‘yesterday’s future’ while it remains standing. I’ve always been captivated by the progressive architecture of the inter-war years. The architects at the forefront of the Modernist movement took such a huge leap in both concept and aesthetics. I’m fascinated in how this bold European style manifested in the UK, blended with its surroundings and how well the buildings have fared the test of time. In addition to this architectural work, I harbour a fascination for night-time photography. My new book 'Small Hours' brings together a 12-month project capturing artificial light sources after dusk in and around my hometown of Great Malvern. My photographs have been published in a number of different magazines and newspapers including C20 Magazine, RPS Journal, La Vangaurdia, Digital Camera, The Modernist and The Guardian. 2019 saw the publication of ‘Odeon Relics’, a photo-book documenting the surviving buildings constructed by the iconic cinema chain in 1930s. This hardback book features my complete contemporary photo series, period photos by John Maltby and an introduction by architectural writer Jason Sayer. I have also contributed an image to Elaine Harwood’s 2019 ‘British Art Deco’ published by Batsford. LOCATION Worcestershire UNITED KINGDOM CAMERA/S Canon 6DII WEBSITE http://www.philipbutlerphotography.com/ @PBUTLERPHOTOGRAPHY @ARTDECOMAGPIE FEATURES // Small Hours Relics From The Past

UNDER THE SILHOUETTES Every time Asen Georgiev goes out to take photos he feels likes he is part of something bigger, but a part he can also just be himself. UNDER THE SILHOUETTES October 14, 2022 INTERVIEW PHOTOGRAPHY Asen Georgiev INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Asen Georgiev always felt a special connection with photography. As a child growing up in Bulgaria, he was drawn to the magical sound of his parents’ old point and shoot film camera. Little did he know, that that shutter sound was the beginning of a lifelong exploration of street photography. Today, Asen’s vivid photographs of people and their environments captivate the minds of many. They depict a world full of beauty and imperfection all at once, and show us the world through Asen’s eyes. Every time Asen goes out to take photos he feels like he is part of something bigger, but at the same time he can just be himself. His photographs have taken him to places he would have never imagined. From the lively streets of Sofia to the small villages in the Bulgarian countryside, every trip is an opportunity to discover something new and to capture it with his camera. Asen Georgiev’s works are a testimony of his love for street photography and how it has changed his life. His story will inspire you to explore the world around you and to capture its beauty through the lens of your camera. “Street photography can be inside, outside, you can have people in it or only buildings. It can be anything. This can be very challenging, though. In my opinion the biggest limitations to creativity is the lack of limitations. It's basically a love-hate relationship.” IN CONVERSATION WITH ASEN GEORGIEV THE PICTORIAL LIST: Hello Asen, please tell us about yourself. ASEN GEORGIEV: I was born and raised in Sofia, the capital of Bulgaria, a tiny little country in south eastern Europe. Where I grew up has massively influenced my work. As the most underdeveloped country in the European Union, there is a lot of poverty in Bulgaria. It was worse when I was little but it's still there, even more than 20 years later. Even now when you leave the bigger cities you see people living on the poverty line and struggling everyday. I guess that's why I was always fascinated by chaos and all sorts of different people from different layers of society. For that same reason I learnt that people are people no matter what's their income, where they live or what they do. That's one of the reasons why I got into street photography. I wanted to be able to capture life in the city, in its beauty and disfigurement. I'm still living in Sofia currently. I just finished my undergrad in marketing and am currently working as content marketing specialist in a startup, and doing freelance copywriting and marketing gigs whenever I get the chance. TPL: What drew you to photography? What was that moment that you decided to pick up a camera? Talk to us about your photographic experience on the streets of Bulgaria. AG: When I was little my parents had an analog point-and-shoot Beroflex camera and I adored clicking the shutter. Eventually I found out that this sound meant that a picture was taken. When my parents were coming back with the developed negatives from the photo studio, I loved staring at them and trying to invert the colors in my mind. Some years later we had a field trip organized from school and they let me take that same camera with me. I shot an entire roll of film for the few hours we were there and I loved every minute of it. Fast forward a few more years and smartphone cameras were getting pretty decent. I remember taking photos for an entire afternoon at a nearly deserted beach that my family and me went to and being very happy while experimenting with different compositions. Since then photography has constantly been a part of my life in one way or another. The year after my dad retired as a firefighter and bought me my first DSLR. It was a Nikon D3100 that really sparked my interest in photography. One more year later, in high school we had a complimentary photography class taught by a photojournalism lecturer from the Sofia University. That was my first contact with street photography and photojournalism. He was telling us stories about Sebastião Salgado, Henri Cartier-Bresson, Robert Capa, Garry Winograd and many more of photography's greatest. That's when my street photography journey began. Photography on the streets of Bulgaria can be very challenging at times. Not because people don't like it, even though that also tends to happen, but because a big part of the cities are the same. That's what communism does to your country after all. It loses a big part of its personality, loses many of its resources and is left bankrupt. Lately I find myself walking through neighborhoods in Sofia that I haven't photographed before. In summer it's great, there are always people outside, a lot of stuff going and plenty of scenes to photograph. In winter, though, it's dead. Everyone rushes home and there's only action at major bus stops and subway stations. But that's also got its charm. TPL: What is it that you love most about street photography? AG: The freedom. Street photography can be inside, outside, you can have people in it or only buildings. It can be anything. This can be very challenging, though. In my opinion the biggest limitations to creativity is the lack of limitations. It's basically a love-hate relationship. TPL: What are some of your most favorite places you find inspiration to explore through your photography, and what draws you there? AG: In 2021 I was lucky enough to be able to spend an entire month in Turkey. It's a breath-taking place. Not only Istanbul too. Every corner of it. There's always something going, there are people everywhere, selling, playing, running, smiling, doing all sorts of stuff. Before photography I wasn't nearly as attracted to Turkey as I am now, so I guess that's the place that I explored because of it. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. AG: It's very rarely that I'll shoot with a concept in mind. And even when there's something of a concept that I'm trying to shoot, it's very vague, so it's fair to say that I shoot what comes to me. I think my process is like any other street photographer's. I simply walk around. Usually my camera is easily visible and I never try to hide the fact that I'm taking a picture. If you try to hide it people are going to think you're doing something bad and either get uncomfortable or get mad at you. After going out to shoot I usually wait a few days or a week before editing the photos. That's something I learnt after starting to shoot film more than 2 years ago. The more you slow down, the more likely you're to end up with an ok shot. I like to disconnect. I want to be there and then and nothing else to exist. I often want to be invisible and simply capture what's interesting. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AG: Oh yeah, plenty. When it comes to photography, the photographers that have impressed me the most are Alex Webb, David Alan Harvey, Robert Frank and Sebastião Salgado. There are more, of course, but these are the ones that first come to mind. I believe the reasons why they're so significant is obvious to anyone who's seen their work. It's simply genius. It's pure art. About other artists... I'm very passionate about music so there are a lot of musicians that inspire me. There's the whole grunge era with Chris Cornell, Eddie Vedder, Layne Staley, and of course, Kurt Cobain. The movement they created, their music, their passion, their inability to give a fuck... It's unbelievable! TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? AG: I guess they have to be alive, right? That would be either Sam Abell, Alex Webb or David Alan Harvey. I put Sam Abell there as I watched a lecture of his online where he explained his process. The way he decides to tell a story, how he composes his shot, the dedication... All of it. Alex and David because they're my biggest inspiration. I want to see how they work in the field, how they see the world, how they interact with it. It would be like seeing magic. 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? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? AG: I think it was that point-and-shoot Beroflex camera my parents had. I still have it too and it still works. I actually took one of my favorite photos with it last year. Now I mainly shoot with my Fuji XT-20 and my Ricoh GR III. I also use a few analog cameras, among which a Nikon FG-20 and a Russian Zorki 4. I think different equipment gives a different vibe to your work. If you shoot film, your photos will have more imperfections. That gives a lot of personality though. Digital is different. It gives you more room for creativity and kind of takes you closer to your subject. They're both great though. When it comes to wishlist...Well, I've wanted to get a Leica, be it digital or analog, but I don't think that's ever happening, with their prices always going up. I've also been considering getting a Fuji X100 series camera at some point. TPL: What role has the digital community played in your photography journey? AG: As a 25-year old my generation is the last that saw an analog world. This is great as it makes me appreciate how much freedom the digital era is giving us. Especially when it comes to the photography community. I'm glad to say that lately the street photography community in Bulgaria has been steadily growing. If it wasn't for the digital era, I wouldn't have met any of the other Bulgarian street photographers. And there's so much quality there. It would've been a shame to miss it. About my photography journey...well, the digital community helps you understand that the work you do is average at best. It helps you ground yourself and not think you're something you're not. TPL: What are some of your goals as a photographer? Where do you hope to see yourself in five years? AG: That's a tough one. I definitely want to keep shooting. I want to work on project, document life in all corners of the world, hopefully work with embassies. There are a few projects I have taking shape in my head and I hope I'll be able to complete at least some of them within the next five years. TPL: “When I am not out photographing, I (like to)… AG: I like to disconnect. I want to be there and then and nothing else to exist. I often want to be invisible and simply capture what's interesting.” Asen Georgiev's story shows us the power of street photography and how it can take you to places you never imagined. His photographs capture the beauty and imperfection of the world in a way that can only be seen through his eyes. His story will inspire you to explore the world around you and to capture its beauty. VIEW ASEN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

I am a photojournalist and a street photographer. I was born in Malta in 1966 and from a young age took an interest in photography with the only available medium at the time which was film. When I was 18 I joined the armed forces. In 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the Official Photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I began a career as a freelance photographer and as a photojournalist for a leading newspaper. I have been shooting street photography for over ten years, organising street photography workshops since 2015. I also lecture locally on Adobe Lightroom and Photoshop. In November 2016 I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020 Japan. MARTIN AGIUS I am a photojournalist and a street photographer. I was born in Malta in 1966 and from a young age took an interest in photography with the only available medium at the time which was film. When I was 18 I joined the armed forces. In 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the Official Photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I began a career as a freelance photographer and as a photojournalist for a leading newspaper. I have been shooting street photography for over ten years, organising street photography workshops since 2015. I also lecture locally on Adobe Lightroom and Photoshop. In November 2016 I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020 Japan. LOCATION MALTA CAMERA/S Canon R6 WEBSITE https://martinagius.com/ @MARTINAGIUS_STREETPHOTOGRAPHY FEATURES // City Double Life

FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. FLUX Exploring Form, Luminescence, and Motion March 2, 2025 INTERVIEW PHOTOGRAPHY Amy Newton-McConnel INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Amy Newton-McConnel’s photography reinterprets light and movement, constructing a visual dialogue that shifts between the tangible and the abstract. Through the technique of Intentional Camera Movement (ICM), Amy disrupts conventional perspectives, using the camera as a tool for spontaneity and experimentation. Rather than capturing static moments, her work embraces fluidity, where motion dictates form, and light serves as both subject and medium. By dissolving recognizable structures, she invites the viewer to engage with images that exist beyond the constraints of literal interpretation, prompting a reconsideration of how movement shapes perception. Amy’s work has been exhibited in galleries throughout Arizona and is part of the permanent collection at Rosie’s House: A Music Academy for Children in Phoenix. Her photography has been featured previously here on The Pictorial List, and in numerous digital and print publications, including Hintology, ICM Photography Magazine, Spectaculum Magazine, Spotlight Contemporary Art Magazine, and Women United Art Magazine. These platforms have recognized her ability to push the boundaries of photographic storytelling through abstraction. Her series, ‘Flux: Exploring Form, Luminescence, and Motion’, examines the interplay of structured precision and organic unpredictability. Through controlled camera movements, she captures ephemeral moments, composing images that evoke rhythm and energy. Amy’s approach to ICM is grounded in a study of lines, textures, and colors, reshaping visual perception by merging movement and stillness into a unified composition. The blurred contours and layered tonalities in these images suggest an evolving transformation, capturing the fluid nature of time and space. By integrating ICM techniques with a focused conceptual framework, Amy constructs compositions that extend beyond the frame. Her work does not seek to depict reality but rather to reinterpret it, offering an alternative lens through which to engage with the transient nature of experience. In this interview, she discusses her artistic process, the conceptual underpinnings of ‘Flux: Exploring Form, Luminescence, and Motion’, and the role of abstraction in contemporary photography. “‘Flux’ began as an exploration of movement and transformation, without a rigid narrative in mind. I was drawn to the way shifting forms and layered textures could evoke different emotions and interpretations. As the project evolved, I found that themes of energy, fluidity, and impermanence naturally emerged, shaping the direction of the work. It was a balance between intentionality and discovery — allowing the process to guide me while remaining attuned to the emotional resonance of each piece.” IN CONVERSATION WITH AMY NEWTON-MCCONNELL THE PICTORIAL LIST: How do you define the boundary between control and unpredictability in Flux? Do you see motion as a tool to shape the image, or does it become a subject in itself? AMY: The boundary between control and unpredictability is fluid—I guide the motion, but I also embrace the unexpected. Motion is both a tool and a subject; I use it to sculpt the image, yet it also takes on a life of its own, shaping the final composition in ways I can’t fully anticipate. The interplay between these elements is what makes the work dynamic—it's about finding harmony in chaos and allowing the movement to speak for itself. TPL: In this series, how do you determine the degree of abstraction? Were there moments where the original subject remained visible, or was total transformation your goal? AMY: Total transformation was my goal in this series. I wanted to push the original subject beyond recognition, allowing form, color, and movement to take precedence over representation. The process was about dissolving the familiar and creating something entirely new — an image that exists in its own space, independent of its source. By embracing abstraction to this degree, I aimed to evoke emotion and interpretation without the constraints of a recognizable subject. TPL: ‘Flux’ suggests a dialogue between order and chaos — do you find yourself drawn more to one aspect over the other when composing your images? AMY: I find myself drawn to discovering order within the chaos. While the process of creating ‘Flux’ embraces unpredictability, my instinct is to seek structure within that movement — whether through composition, balance, or the interplay of light and form. The tension between these elements is what makes the work compelling to me. Chaos provides energy and spontaneity, but finding moments of harmony within it is what ultimately shapes the final image. 'Distended', © Amy Newton-McConnel 'Drift', © Amy Newton-McConnel 'Convergence', © Amy Newton-McConnel 'Curvature', © Amy Newton-McConnel 'Conic', © Amy Newton-McConnel 'Celestial', © Amy Newton-McConnel 'Bounce', © Amy Newton-McConnel 'Bloom', © Amy Newton-McConnel 'Passage', © Amy Newton-McConnel 'Mosaic', © Amy Newton-McConnel TPL: Light is a crucial element in ‘Flux’. How do you manipulate light sources to achieve the sense of depth and radiance in your images? AMY: I don’t manipulate the light source itself; instead, I manipulate the direction of light through my camera using intentional camera movement. By shifting the camera during exposure, I reshape how light interacts with the scene, creating a sense of depth and radiance. This technique allows me to stretch, blur, and layer light in ways that transform the original subject, emphasizing motion and energy rather than fixed form. TPL: Are there particular types of light—natural, artificial, or mixed—that lend themselves best to the visual language of ‘Flux’? AMY: For ‘Flux’, I worked exclusively with artificial light in an outdoor environment during the evening, where natural light was minimal. Artificial light lends itself well to the visual language of the series because of its intensity, directionality, and the way it interacts with movement. The contrast between light and darkness enhances the sense of depth and fluidity, allowing me to sculpt the image through intentional camera movement. This controlled yet dynamic interplay of light helps create the transformation I seek in the work. I aim to evoke emotion and interpretation without the constraints of a recognizable subject. TPL: When working on ‘Flux’, did you have a consistent technical approach, or was each image a result of experimentation and discovery? AMY: Every image in ‘Flux’ was the result of experimentation and discovery. Each movement of the camera introduced new possibilities, and I embraced the unpredictability of the results. This approach kept the work dynamic, allowing me to respond to the light, motion, and composition in the moment rather than adhering to a predetermined outcome. TPL: Were there any unexpected technical challenges in translating your vision into final images? How did you overcome them? AMY: There were no technical challenges in translating my vision into the final images—only the unpredictability of the outcome. Since ‘Flux’ was built on experimentation, I embraced the lack of control as part of the process. Rather than seeing unpredictability as an obstacle, I allowed it to guide the work, shaping each image in ways I couldn’t fully anticipate. TPL: Abstraction allows for multiple interpretations. Do you prefer viewers to approach your work with an open perspective, or are there specific narratives you hope they uncover? AMY: I want viewers to approach my work with an open mind and create their own stories. Abstraction allows for a wide range of interpretations, and I believe that the beauty of ‘Flux’ lies in its ability to evoke different emotions and thoughts in each person. Rather than guiding the viewer toward a specific narrative, I want the images to be a personal experience, allowing each individual to bring their own perspective to the work. 'Flutter'. © Amy Newton-McConnel 'Entanglement', © Amy Newton-McConnel 'Electromagnetic', © Amy Newton-McConnel 'Veined Glow', © Amy Newton-McConnel 'Whirlwind', © Amy Newton-McConnel 'Undulation', © Amy Newton-McConnel 'Symphony', © Amy Newton-McConnel 'Rebound', © Amy Newton-McConnel 'Turbulence', © Amy Newton-McConnel 'Tendril', © Amy Newton-McConnel TPL: Your work has a painterly quality, reminiscent of Abstract Expressionism. Are there particular painters, photographers, or artistic movements that inspire your approach? AMY: I am inspired by all forms of abstract art, particularly Cubism, Expressionism, and Abstract Expressionism. These movements' focus on breaking down form and conveying emotion through abstract means resonates deeply with my own approach. I draw from their exploration of perspective, color, and emotional depth, which I incorporate into my photographic process. The raw energy and freedom found in these artistic styles influence how I capture movement and transformation. TPL: How do you prepare for a shoot? Do you pre-visualize a composition, or do you let intuition guide your movements? AMY: I don’t begin with a fixed composition in mind. Instead, I experiment with different camera movements and let my intuition guide me through the process. Each shoot is a fluid exploration, where I respond to the light, motion, and energy in the moment. This approach allows for spontaneity and discovery, ensuring that each image evolves organically rather than being constrained by a predetermined vision. ‘Flux’ is not just about capturing reality but about transforming it, using intentional camera movement to dissolve familiar forms and create images that exist independently of their source. Rather than seeking complete control, Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. For her, photography is a deeply intuitive process — one that lets her lose herself in the rhythm of movement, embrace uncertainty, and discover unexpected moments. VIEW AMY'S PORTFOLIO Read Pictorial Story "Multiplicity" >>> Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

I am a street and documentary photographer. I started my career in photography as a hobbyist in 2019 while doing my Masters Education in Marketing. I tried all genres of photography in the beginning, and discovered that street and documentary work attracted me more than any other genre. I do love to travel to find new places and stories. I identify myself as a learner, trying to learn new things from everyone. My work has been featured in National Geographic Photo of the week, and as a finalist in CHIIZ Magazine. My photograph has also been selected for publication in the 5th 35 Awards, and a documentary about Republic Parade Rehearsals has been published in The Fleeting magazine. SANDEEP KUMAR I am a street and documentary photographer. I started my career in photography as a hobbyist in 2019 while doing my Masters Education in Marketing. I tried all genres of photography in the beginning, and discovered that street and documentary work attracted me more than any other genre. I do love to travel to find new places and stories. I identify myself as a learner, trying to learn new things from everyone. My work has been featured in National Geographic Photo of the week, and as a finalist in CHIIZ Magazine. My photograph has also been selected for publication in the 5th 35 Awards, and a documentary about Republic Parade Rehearsals has been published in The Fleeting magazine. LOCATION INDIA CAMERA/S Nikon D3300 & Sony A7III @IM_SAADHU FEATURES // Finding New Stories

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

PICTORIAL STORY THEY HAVE GONE Abandoned but not forgotten, the farmhouses of the lower Piave stand as quiet monuments to a vanished rural life. In this beautiful photographic journey, past and present meet in the silence of stone and soil — revealing the poetry of a land shaped by labor, memory, and time. November 8, 2023 PICTORIAL STORY photography LORENZO VITALI story LORENZO VITALI introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The landscape of Eastern Veneto in Italy holds a special place in the heart of Lorenzo Vitali. It is a place that has long captivated him, evoking strong emotions and a deep sense of connection. In particular, the lower Piave region stands out for its unique architecture, characterized by the presence of farmhouses that are an integral part of the landscape. For an attentive observer, these farmhouses cannot go unnoticed as they stand out along the provincial roads or hidden within the secondary road network. And for Lorenzo, it was this very landscape that he felt compelled to explore, to understand its emotional affective relationship and document it through his photography. But this journey was not one that Lorenzo took lightly. He spent a significant amount of time researching and studying maps, carefully planning his approach before venturing into the field. Armed with the right perspective, lighting conditions, and photographic equipment, Lorenzo was ready to capture the essence of Eastern Veneto. However, it was not just about capturing the physical aspects of the landscape and its architecture. Equally important was delving into the historical and geographical context of this region. Through in-depth analysis, Lorenzo was able to gain a deeper understanding of the topic at hand. But what was the ultimate purpose of this journey? Was it simply to create a documentary of the landscape and its buildings? No, for Lorenzo, it was about capturing the emotional cues that had drawn him to this place and using his photography to convey that sentiment to others. We join Lorenzo on his journey through Eastern Veneto, exploring the landscape, history, and architecture that have left a lasting impression on him. Prepare to be captivated by the emotional power of this region and its unique charm. THE HISTORICAL GEOGRAPHICAL CONTEXT The progressive reclamation of these territories, implemented gradually with greater intensity and effectiveness in the last twenty years of the 19th century and then in the first half of the 20th century, created the possibility of considerably expanding the areas destined for agriculture. The Reclamation Consortiums that have arisen here, as happened in other areas of the Veneto and Italy, are clear evidence of this. The farmhouse, which spread as a constructive model in these areas mainly between 1880 and 1935, had the function of providing a house adjacent to the workplace for the laborers who worked the land with sharecropping contracts. These structures generally arose quite isolated in each of the numerous landholdings. However, already towards the end of the 1950s, the industrialization process, the tourist development towards the sea and the mechanization of agricultural processes progressively reduced the number of laborers needed for agricultural activities. In 1964, sharecropping was definitively abolished in Italy. The 1966 flood also demonstrated that the river was not yet fully under control. All this determined, in a rather rapid time, profound changes at a social and working level with a strong push towards the urbanization of an important part of the population. Therefore, these large structures were, one could say overnight, abandoned and now remain only as important evidence of a precise historical phase: their demolition would have a high cost and unfortunately therefore their fate, in the absence of, at the moment no conservative interventions are foreseen, it seems to be the slow degradation. I thank Dr. Piergiorgio Rossetto, a profound connoisseur of these territories and their anthropological characteristics, for the precious advice that he has generously placed at my disposal. THEY HAVE GONE The gaze of a traveler, who would like to immerse himself in the evocative atmosphere of the lower Piave, would be captured after a few kilometers by the discreet presence, in the landscape, of unusual imposing buildings integrated with unexpected material naturalness in the countryside. These are the so-called farmhouses. This ends up creating in his mind, as he progresses through these places, day after day, a sort of sensation of an awaited appointment. I lived this experience in an emotionally intense way, which went beyond documentary intent. What I have tried to tell, “illustrating” and therefore inserting a strong interpretative component, is a story, one of the many stories hidden in these border areas between land and water. As an astonished and curious observer, as I felt throughout this slow journey of discovery, I have tried to give new life to this apparently “forgotten” landscape, sometimes also using my imagination, but more often trying to grasp its coy poetry, which I wanted to try to bring out. Past lives can be guessed inside and around these monuments of a peasant reality, now extinct. Stone dinosaurs mark the territory, almost a warning not to forget those who have rejoiced, suffered and worked hard and industriously here. I therefore created images that could be defined as lively, in which however the patina of time maintains its discreet, unmistakable presence. © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali The exhibition 'They Have Gone' at the Colorno Festival in Parma, Italy. As our exploration of Eastern Veneto with Lorenzo Vitali draws to a close, we are left with a profound appreciation for the landscape, history, and architecture that make this region so unique. Through his photography, Lorenzo has captured not just the physical aspects of the landscape, but also the emotional impact it has on him. We are reminded of the ever-changing nature of this region, but in Lorenzo's photographs, these structures appear as more than just monuments of the past; they are monuments of a way of life that once thrived here. As we bid farewell to this journey, let us not forget the stories and the people that have shaped this landscape and left a lasting impression on Lorenzo and all those who have had the privilege of experiencing it. They Have Gone will be exhibited from 13 October to 26 November 2023 at the Colorno Festival in Parma, Italy, in the premises of the Aranciaia of the Palace. The photos are in large format. The exhibition was curated by Paola Riccardi. view Lorenzo's portfolio Read about Lorenzo's other projects - "Sahara: The Shape and the Shadow" >>> "An Arrythmic Succession of Interrupted Pauses" >>> Read an interview with Lorenzo >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

THE HUMAN ELEMENT Kenneth Nederskov Petersen has faced the challenge of adapting his style to the pandemic. Despite the hardships, he has continued to capture the world around him through his unique lens. THE HUMAN ELEMENT January 25, 2021 INTERVIEW PHOTOGRAPHY Kenneth Nederskov Petersen INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For Kenneth Nederskov Petersen, photography is a way of life. This year has been a challenging one, as his normal style of street photography has been put on hold in light of the pandemic. Instead, Kenneth has turned his lens towards the muted beauty of architecture, capturing it in the lonely night streets. However, as the year draws to a close, Kenneth is looking forward to a future where he can once again return to the hustle and bustle of street photography with a sense of freedom and artistic expression. “I received my first camera at my Christian confirmation. My uncle was a good photographer and was my inspiration. But the learning curve was difficult. The challenge was not to see the result instantly. Everything changed for me when digital was the new standard. Now I could see the result immediately.” IN CONVERSATION WITH KENNETH NEDERSKOV PETERSEN THE PICTORIAL LIST: Kenneth, where do you find your inspiration to photograph? KENNETH NEDERSKOV PETERSEN: Hmm...they come from all over. Books, movies, architecture, music, life itself. I cannot stop photographing, so I do not think too much about this. There is an element of hunting in it too. Street photography is not necessarily the easiest genre. You can come home with no good pictures. The more satisfying it is when you come home with something worth sharing. TPL: What has been the best advice you have ever received in photography? KNP: Photograph the things that interest you, and do not photograph what you might believe interest most people. If the passion is not there, the struggle will be bigger, and the pleasure smaller. I do not live from my photography, so it might be easy for me to say that. TPL: Do you have any favourite spots to go photographing? How has the pandemic affected you and your photography? KNP: Copenhagen is where I feel at home with my photography. Around the harbor line, the train and metro stations, in parks and more. The pandemic has turned my photography upside down. My wife is kind of exposed at her job where she is looking after small children and my kids are in school. I am working from home (as a purchaser of spare parts for buses and trucks) and I try to be the one less exposed to the virus. This is stopping me from going onto public transport and to be at places with many people - this left me with lots of frustration. I then started a night photography project by going out in the dark with my tripod and taking long exposures of architecture and buildings in the local areas. This is just the opposite of street photography and has been a very fun and giving project. TPL: What is it that you enjoy about street photography? What happens when you walk the street with your camera? Explain your technique. How do people generally respond? KNP: Street photography captures a glimpse and a moment of life that happens just as you click the shutter. If you are lucky, then you document the time of year and/or the decade of a time. You can also capture something beautiful, something about the country and area, something very human, colors, light and much more. When I walk with my camera, I am in a mental zone. I am more aware and more alert. I get the best results when I am alone. I try to be quiet, to blend in, or act as a tourist, I smile or just pretend that I am interested in other things than my subject, or even shoot from the hip. At events like demonstrations, I pretend to belong there as an official which allows me to get close and photograph portraits. My smaller and old school looking camera makes me less intimidating than running around with a large camera body and a big telephoto lens. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? KNP: The human element is important in my photography. But there can also be something very graphic pleasing and mathematically satisfactory with symmetry or when things are in a certain order in a picture. And then again chaos can be as satisfactory, if that is what I see in a situation. Architecture has also been a part of my photography recently. Copenhagen is in constant development with new buildings and exciting architecture. Treat people the same way as you would like to be treated by them. This is also my go-to phrase with the camera. I do not try to photograph embarrassments. A photograph can be humorous and still respectful. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KNP: I enjoy work from Elliot Erwitt, Nick Turpin, Angela Ambrosini, Nils Jorgensen, Shane Taylor, Matt Stuart, Alan Schaller, Sally Davies, Annie Leibovitz and many more. I have found some photo friends at Instagram too. I am very glad to see Li Mullen listed here as 2021 photographer. As much as I enjoy the work of these people, I cannot copy their work. When I am out, my mind and head is totally cleared and wiped clean. If my photography looks like someone else's work, then it is completely unconscious and something that I am not aware of myself. But what I like in other photographers' work will naturally show up somehow in my own work. 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? KNP: Fujifilm has been a real game changer for me. I was coming from a big heavy DSLR - Canon 5D - which was not a street ninja tool. Fujifilm mirrorless was lighter, more intuitive, it has old school dials, and it is somehow discrete and not very offensive. XT1 was my first Fujifilm camera. I missed something in handling, but then I bought the XT2 Silver edition. It does everything I need it to. If there are any mistakes, it is my mistake and not the camera. Features like auto ISO and electronic shutter are fantastic. 23mm F2 is my go-to lens = 35mm equivalent in full frame. I have tried to use longer lenses under Covid19, but I think and compose in 35mm focal length. I can shoot without looking with one hand or from the hip, and still know what is in the frame. I do also use other lenses (not much though) - mostly a 50mm F2 = which is about 75mm on full frame - for events and portraits. The current gear has stopped my lust for new cameras/lenses, and I can focus on the important part - the picture itself. I might try a X100V one day, but I still like the flexibility of being able to change lenses. TPL: When you go out photographing, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? KNP: When I go out shooting, I normally have a plan of districts I want to visit. I do not normally have a special concept and idea. But when the pandemic is over, I will for sure go out with different projects in my head. Inspired by my Night Photography project under Covid 19. TPL: Have you ever been involved in the arts before photography? KNP: I have always been creative. First with the music which included school concerts and more. Now photography. To be able to fulfill the creative side of life completes me somehow. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KNP: As mentioned before, I am working on a Night Photography Project right now. This project has led me to continue with night photography and architecture pictures - also after Covid 19. I hope to add more portraits to my portfolio. It might be street portraits; it might be normal portraits - time will tell. TPL: When I am not out photographing, I (like to)… KNP: When I am not out photographing, I like to be close to my family and friends, to travel, to cook, to walk the dog, to play the keyboard, to watch action movies and Nordic Noir thriller series. Thanks for listing me as a 2021 photographer. I feel very honored. Kenneth Nederskov Petersen has faced the challenge of adapting his style to the pandemic. Despite the hardships, he has continued to capture the world around him through his unique lens. As we look towards a future with hopefully more freedom, Kenneth's words serves as a reminder to never stop seeking out beauty in the world no matter what the circumstances are. Let's use his example as inspiration to explore our own street photography, or whatever art form speaks to us – and never stop creating. VIEW KENNETH'S PORTFOLIO Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth.

I am a multidisciplinary visual artist based in Dumaguete City, the Philippines. During my time at Foundation University, I was lucky enough to have been given sponsored equipment and to be mentored by LA Times photographer Luis Sinco. Upon graduating, I did a stint as an Art & Photography course teacher, and also conducted - along with Sir Luis, and Magnum photographer Eli Reed - a series of South Pacific photography workshops. Now, as a full-time artist-in-residence at Foundation University, when I'm not in the studio creating art, I'm out on the streets with my camera in hand. Over the years, I've often been quick to the scene of local historical events, unable to resist the potential for a good picture, and from time-to-time my photographs are featured in local newspapers, as well as national and international publications. As I mature as a photographer, and as a person, I find myself becoming increasingly aware of the transience of human beings, particularly in the context of wherever they may be, or whatever they may be doing, at any given time. I am fascinated by the fact that every time I click the shutter in front of a stranger moving and interacting within their environment, I have captured a little piece of the absolute randomness of life, a snapshot of an otherwise unremarkable moment in history, that is timely, comical, tricky to the eye or just plain beautiful. It really is an incredible feeling when suddenly, out from the mundane, the Universe delivers a fleeting and uncanny moment of magic and 'click', it's not lost forever, and becomes a recorded and tangible piece of art. HERSLEY-VEN CASERO I am a multidisciplinary visual artist based in Dumaguete City, the Philippines. During my time at Foundation University, I was lucky enough to have been given sponsored equipment and to be mentored by LA Times photographer Luis Sinco. Upon graduating, I did a stint as an Art & Photography course teacher, and also conducted - along with Sir Luis, and Magnum photographer Eli Reed - a series of South Pacific photography workshops. Now, as a full-time artist-in-residence at Foundation University, when I'm not in the studio creating art, I'm out on the streets with my camera in hand. Over the years, I've often been quick to the scene of local historical events, unable to resist the potential for a good picture, and from time-to-time my photographs are featured in local newspapers, as well as national and international publications. As I mature as a photographer, and as a person, I find myself becoming increasingly aware of the transience of human beings, particularly in the context of wherever they may be, or whatever they may be doing, at any given time. I am fascinated by the fact that every time I click the shutter in front of a stranger moving and interacting within their environment, I have captured a little piece of the absolute randomness of life, a snapshot of an otherwise unremarkable moment in history, that is timely, comical, tricky to the eye or just plain beautiful. It really is an incredible feeling when suddenly, out from the mundane, the Universe delivers a fleeting and uncanny moment of magic and 'click', it's not lost forever, and becomes a recorded and tangible piece of art. LOCATION Dumaguete City PHILIPPINES CAMERA/S Fujifilm XT100, Canon EOS 5D Mark II, Canon EOS 60D, Canon EOS Rebel XT, Canon EOS Rebel T2i, Canon EOS Rebel T3i, Canon EOS Rebel T4i WEBSITE https://www.hersleycasero.com/ @HERSLEYVENCASERO @HCASERO FEATURES // Quarantine Chronicle All in Good Time