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

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

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

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

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

The subject of this work is not the objects photographed, but rather the appearance of those objects. Assessing objects in terms of tones and shapes allowed for the divorce of those objects from their figurative meanings and places in the world. This, as a result, enabled the exploration of the line between representation and abstraction. JAKE DYLAN The subject of this work is not the objects photographed, but rather the appearance of those objects. Assessing objects in terms of tones and shapes allowed for the divorce of those objects from their figurative meanings and places in the world. This, as a result, enabled the exploration of the line between representation and abstraction. LOCATION New York USA CAMERA/S WEBSITE https://jakedylxn.com/ FEATURES // Subconscious Patterns

CONCEPTUAL REALITY NastPlas is a Spanish creative duo changing the way we look at photography, blurring the lines between reality and abstraction. CONCEPTUAL REALITY February 2, 2022 INTERVIEW PHOTOGRAPHY Nastplas INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For the modern eye, the work of Nastplas is a mesmerizing blend of art, technology and photography. As a creative duo born from the fusion of two talented Spanish mixed media artists - Fran R. Learte (aka drFranken) and Natalia Molinos (aka Na) - Nastplas has been pushing the boundaries of digital art since 2006. With a distinctively deep and enveloping aesthetic, they are changing the way we look at photography by bringing 2D forms into experimental digital spaces. Nastplas draws inspiration from their environment to create unique projects that offer a journey into their vivid world. Their subject range is incredibly vast and exploratory, as showcased in their expansive portfolio. From photomontage and collage to 3D illustration and digital painting, each piece of work is an exploration of the imagination and the unexpected. At its core, Nastplas is about using creativity to interpret reality - to craft something beautiful out of what we see every day. It’s about turning the ordinary into something extraordinary, and in the process, inspiring viewers to see the world differently. “MAISON BAU is a project inspired by the Bauhaus and the work of the Spanish designer Maison Mesa. We love his work and it was in one of his shows (VIVA BAU!) that we took these images. Mesa invited us to his show and we took several shots from his collection, inspired by the way of doing and thinking of the Bauhaus school at the beginning of the last century. From our captures, we wanted to combine different basic graphic elements and primary colors to build a plastic, poetic and modern language that reflected a return to basics and essentials.” IN CONVERSATION WITH FRAN R. LEARTE AND NATALIA MOLINOS FROM NASTPLAS THE PICTORIAL LIST: You are a creative duo based in Madrid, Spain. Can you start by introducing yourselves and tell us how all NastPlas started? What was your journey into photography? NASTPLAS: NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by myself, illustrator Fran R. Learte and creative director Natalia Molinos. Our work combines an impressive range of digital elements and abstract patterns which we create in order to elaborate pieces of art with a deeply aesthetic feeling. Later, Natalia opted for Interior Design and Decoration; and I opted for computing and technology. From here, we started working together as NastPlas. We started working in 2D digital art and now we mainly work in 3D and photography. We have always been passionate about photography, but when we got our first camera, a visual world opened for us and we began to take images and tell stories through our shoots. TPL: Artists often build up and experiment towards a method of working. Your work explores in a conceptual background the limits between reality and abstraction. Does this apply also to your photography projects? Has your imagery become more abstract over time, or did you know exactly what you wanted from the beginning? What are some of your references for the research for your photography projects. What has been the inspiration for your work? N: Yes, our work has become more abstract and conceptual over the years, both in illustration and photography, although from the beginning we were quite clear about our path. Regarding photography, we are inspired by New York photography of the underground scene, Spanish manners photography of the 30s, 40s and 50s and also the work of Jean-Michel Basquiat, and the time of 'The Factory' with Warhol. TPL: You like to work across different mediums...regarding your photography projects specifically, how do you balance how much cross-media in your photography before you think it pushes the boundaries of photography? N: We highly value the original aesthetics of our photography, but due to our work as 3D creatives we are in a constant search and experimentation of various digital techniques and in some series or individual photographs we merge these two facets. TPL: What have been some of your most memorable moments over your creative journey? N: One of the main ones has been working for Kobe Brian and the wonderful Nike team. TPL: Do you ever get burnt out creatively? Explain how you keep the creative energy flowing. N: Not really. We are always investigating, going to exhibitions of photography, painting, sculpture, etc. and above all reading and learning techniques from any artistic discipline. Our work explores in a conceptual background the limits between reality and abstraction through an ascending and constant process of artistic investigation and experimentation. TPL: Do you have any favourite artists/photographers? N: Bill Brandt, Bartolomé Ros, Francesc Català Roca, Nicolás Muller, Ramón Masats, Robert Herman, Frank Horvat, Meryl Meisler, Matt Weber, Martha Cooper, Henry Chalfant, Janet Delaney, Richard Sandler, Vivian Maier, Brassaï... TPL: In regard to your photography...if you could just choose one photographer to shoot alongside for a day...who would you choose? And why? N: We would love to talk about photography and take photos with Bill Cunningham, as he is one of the leaders of "street style". One day with Bill Cunningham going out for a walk in New York, it would be fantastic! TPL: What are some tips or advice you would give yourself if you started photography/business all over again? N: Photography is a complex artistic discipline and it is difficult to make a living from it, but we would advise those who are new to it to seek their own gaze regardless of or seeking the assessment or approval of others. Just do what you love and show it to the world. TPL: Does the equipment you use help you in achieving your vision in your photography? What equipment and camera/s do you use? N: We use various Canon cameras with 50mm, macro 100mm, 80mm, EF70-200, fish eye len, and various Polaroid cameras like SX-70, I-1 or the fun talking camera. TPL: What are some of your goals as artists or photographers? Where do you expect to see NastPlas in five years? N: As artists we would like to see our work exhibited in some galleries we admire and continue doing what we like the most, dedicating ourselves to art. TPL: When we are not out photographing or creating in the studio, we (like to)... N: Enjoy nature, walk and make music. The work of Nastplas is a rare blend of art, technology, and photography, creating creative projects that offer a journey into their vivid world. Each piece of work is an exploration of imagination and the unexpected, ultimately, inspiring viewers to see the world differently. VIEW NASTPLAS' 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.

THE UNPREDICTABLE André Lobão leans towards social documentary and storytelling, detaching himself from the objective reality of the world. THE UNPREDICTABLE April 16, 2021 INTERVIEW PHOTOGRAPHY André Lobão INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For those interested in social documentary and storytelling, André Lobão is a photographer worth taking note of. As an autodidact street photographer, André has used the camera as an instrument of self expression, offering up thoughtful reflections on the world around us. His interest in photography was ignited in 2019 when he first encountered the work and writings of Henri Cartier-Bresson. André quickly found himself captivated by Cartier-Bresson’s humanist vision and poetic geometry, leading him to delve further into the works of other old masters such as André Kertész and Robert Frank. Fueled by a deep appreciation of the power of the lens to capture moments and stories, André photographs with the intention of detaching himself from the objective reality of the world. He invites us to take a journey with him, engaging with his photographs to explore the world in a new light. “I am originally from Portugal and I have been living and working in London since 2017. My first contact with photography started when I was 12 years old and my father gave me a Pentax film camera. As time passed, I pursued different fields of creativity while studying arts and architecture, and only rediscovered this passion three years ago when I bought, first, an instant film camera, and later, a mirrorless one.” IN CONVERSATION WITH ANDRÉ LOBÃO THE PICTORIAL LIST: André, where do you find your inspiration to photograph? ANDRÉ LOBÃO: In philosophy and literature, mainly. Then in music and other forms of art. In reality, everything is connected and whatever makes me think, inspires me. It can be a dead poet’s book, a brand new song or a simple conversation between strangers I heard at the bus stop. The source doesn’t really matter, it’s what you do with your thoughts, I suppose. TPL: What is it that you enjoy about street photography? Explain your technique? What do you want to express through your photography? AL: I like the unpredictability, you never know what you are going to get. I also like the challenge of capturing unposed moments, the ability to blend into your environment while staying aware and curious. I think the ultimate - and today’s most forgotten - goal of photography is a true form of humanism. If you look to the world and understand that we are all here together, then something meaningful can potentially emerge from inside you, no matter the type of work you are trying to create. You need to make it personal and it needs to be subjective, but the real value of your work will always be in someone else's emotional response. I hope to include in my photographs that reaction, first, by using visual composition, to eliminate distractions, and, second, by implying more than the visible. I believe it is important to leave room in the frame for the viewer’s heart and imagination. TPL: Do you have any favourite spots to go photographing? How has the pandemic affected you personally and your photography? AL: No, I do not. I started photographing consistently in the beginning of the pandemic simply because before that I did not have a camera with full manual control. I made plans for seven trips abroad last year and only managed to do one of them. Like everyone else, I wanted to travel as much as possible and make great pictures. With my photography, the pandemic situation was a complete U-turn and ended up pushing me into my immediate surroundings: first my city, then my neighbourhood and, lastly, my own house. It was a tough change of plans, but, eventually, it taught me that very often a good photograph is just around the corner. TPL: Do you have any favourite artists and photographers? AL: Between the classicism of Henri Cartier-Bresson, the poetic vision of ordinary life from André Kertész and the rawness and bold impulse of Robert Frank. 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? AL: Not really. I see the camera as only a tool. Same way as I see a pencil. You can use it to write your grocery list or to write a poem. I use a budget Olympus E-M10 Mark II with a 35mm full frame equivalent lens these days. However, most of the pictures here on display were made with a 28-84mm kit lens. On a personal level, the pandemic showed me how important it is to create ways to truly reconnect with other human beings. 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? AL: It depends. If I am out for street shooting, I try to be like a sponge: I want to absorb the moments that catch my attention. If I am out shooting for a specific documentary or storytelling project, I am more intentional. Usually I draft a list of shots I need to get in order to complete the narrative. They are two completely different mindsets. One is mostly random, the other needs to be more rational. TPL: Have you ever been involved in the creative world before photography? AL: I have been a creative person since an early age. I wrote poetry, drew and played in some underground rock bands. All of those to different degrees of success. Photography is my newest (and hopefully last) creative endeavour. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AL: The only possible goal is to aim to create meaningful work that resonates with people. I want to grow technically and conceptually in order to achieve it. I also hope to keep developing my own documentary projects and publish them in books. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AL: I am currently working on two long-term projects that are in different stages of development. One is conceptual, the other thematic. I am planning to share them, at the right time, in the future. In the meantime, I have also self-published a book called “Oblivion/Revelations” that summarises the best work of my first year of street photography. TPL: "When I am not out photographing, I (like to)… AL: Live fulfilled." Thank you. I would like to express my gratitude to The Pictorial List Team for this opportunity and for doing such an extraordinary work building up this community. André Lobão is an incredibly talented and inspirational street photographer. His work and passion for the art of photography is evident in his own photographs, where he uses his lens to capture moments and stories, often in a unique and thoughtful way. André invites us to take a journey with him, engaging with his photographs to explore the world in a new light - one that exists beyond the objective reality around us. With that in mind, we should all take the time to appreciate André's work and gain an insight into the impact of photography on our lives. VIEW ANDRÉ'S PORTFOLIO André's 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.

RHYTHMIC EXPRESSION Raj Laxmi photographs to reflect the emotion she feels or the connection she makes with subjects in her series of Indian dance. RHYTHMIC EXPRESSION July 8, 2021 INTERVIEW PHOTOGRAPHY Raj Laxmi Singh INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE An ex-journalist turned full-time photographer, what started as a hobby soon led Raj Laxmi Singh to learn and master the craft of photography, while working on the ground level covering a few major art, cultural and heritage events across Delhi and India. She has a knack for capturing portraits and live performances. Rather than just pointing the camera and clicking away, Raj Laxmi takes a picture according to the way the subject makes her feel or the connection of the emotion she makes between herself and the subjects, creating images that combine a strong sense of story and expression of people. “The performing arts are most temporal - the moment you have performed it is over. So I capture the artist’s expression, feeling and emotion in my camera. I think that photographs are the universal language that everyone easily understands. Each picture has its own narrative and story.” IN CONVERSATION WITH RAJ LAXMI SINGH THE PICTORIAL LIST: Raj please tell us about yourself. How did you become interested in photography? RAJ LAXMI SINGH: I was born in a small village called Deoria Meer in Uttar Pradesh, where I completed my primary and secondary education. Currently I live in New Delhi. I am the mother of one child. I became interested in photography while working as a journalist covering a few major art, cultural and heritage events across India. TPL: What was the turning point for you to turn from photojournalism to photographing the arts and culture? What do you love about photographing dance? RLS: First time in 2017 I went to the theatre with my husband. I saw an Indian classical dance live performance. What I felt at the time I cannot explain in words. Classical dance is a performing art where the dancers act out a story almost exclusively through gestures. That time my eyes captured all the dancers expressions, emotions and dance drama, but this time I feel that I could freeze the expressions and emotions. Dance is the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy or simply taking delight in the movement itself... that’s why I love dance photography. TPL: Do you have any favourite artists and photographers? RLS: My favourite photographer is Shree Avinash Pasricha. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? RLS: The performing arts are most temporal - the moment you have performed it is over. So I capture the artist’s expression, feeling and emotion in my camera. I think that photographs are the universal language that everyone easily understands. Each picture has its own narrative and story. What I like about Indian classical dance is its beauty and majesty that comes forth when the dancers use their eyes, hands, limbs and expressions to relate stories to the audience without words. I want to explore more Indian classical dance, folk and traditional dances. I do not have any picture of Kathak Kali dancers and their supporting artists yet. And I also want to cover backstage life. Because every artist looks the same on stage, but backstage life is different and the situations are also different. So I am exploring Indian culture and artist backstage life. TPL: Where is your most favorite place to photograph? RLS: Live classical dance performances at any theater and cultural heritage at temples/tombs. These place provide beautiful frames for photographs and attract my heart. What I like about Indian classical dance is its beauty and majesty that comes forth when the dancers use their eyes, hands, limbs and expressions to relate stories to the audience without words. 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? RLS: Nothing in mind, but when the performance starts then I get many concepts in my mind. I pick up my camera and follow my heart and capture the drama story. TPL: What camera/s do you use? Do you have a preferred lens/focal length? Is there any particular equipment that is on your Wishlist? RLS: I want to buy a Nikon X6II with 300mm lens. Currently I use a Nikon D7000 and 105mm lens. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? RLS: I want to explore more of my Indian culture and also more about the artist's backstage life. This is my goal and I want to achieve my goal within five years. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? RLS: All my special projects are based on our culture. This is work in progress, and what I have shared with you is part of it. Raj Laxmi photographs to reflect the emotion she feels or the connection she makes with subjects in her series of Indian dance. Please visit links to see more of Raj's inspiring photography. VIEW RAJ'S PORTFOLIO See a feature article on Spectaculum Magazine >>> 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 second-year Communication Design student at Indus Valley School of Art and Architecture in Karachi. My work centers around storytelling through visual expression, whether through photography or design. As I continue my studies, I’m exploring different mediums and honing my skills in creating images that do more than capture a moment — they communicate emotion. I’m particularly drawn to finding beauty in everyday scenes, working with light, shadow, texture, and color to evoke a sense of connection with the viewer. My goal is to turn the ordinary into something deeply resonant. DASHA DARVAJ UMRIGAR I am a second-year Communication Design student at Indus Valley School of Art and Architecture in Karachi. My work centers around storytelling through visual expression, whether through photography or design. As I continue my studies, I’m exploring different mediums and honing my skills in creating images that do more than capture a moment — they communicate emotion. I’m particularly drawn to finding beauty in everyday scenes, working with light, shadow, texture, and color to evoke a sense of connection with the viewer. My goal is to turn the ordinary into something deeply resonant. LOCATION Karachi PAKISTAN CAMERA/S Canon 600D @DASHESINPIXELS._ FEATURES // Fragments of Memory

ASSONANT DIFFERENCES Ornella Latrofa focuses on the similarities between biological shapes and the evocative nature of the human body. ASSONANT DIFFERENCES March 25, 2020 INTERVIEW PHOTOGRAPHY Ornella Latrofa INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The human body is an incredible source of inspiration for many different artistic endeavors, and Ornella Latrofa is one of the most creative minds when it comes to conceptual photography. Born in Rome and graduating from the Art Institute of Rome, Ornella has been passionate about photography since she was a child. Her father, who documented their family memories with a video camera, instilled in her a love of capturing moments and creating art. When she turned 20, Ornella bought her first reflex camera and began experimenting and learning more about photography. She soon acquired a digital camera and attended classes to gain a deeper understanding of the art form. With this new knowledge, Ornella was able to channel her creative vision into her unique style of conceptual photography. In her project ASSONANT DIFFERENCES, Ornella wanted to explore the connection between biological shapes and the power of the human body. She wanted to create images that allowed viewers to step away from reality and reflect on the interaction between nature and the human form. By creating these diptychs, Ornella has created a beautiful visual narrative that speaks to the harmony between our natural world and ourselves. “The project started by chance. I had photographed the sand with its shades. In the following days, I asked a friend of my daughter if she would allow me to take pictures of her. I took several pictures and when I took the one with the hair down I immediately noticed the resemblance to the one I had taken days before of the sand. Then, associating the two images, I thought that there could be other similarities between nature and human body. The more I thought about it, the more these associations came to mind. I thought: It is truly amazing how nature resembles us. Humankind constantly seeks contact with nature. A primordial necessity from which we cannot escape.” IN CONVERSATION WITH ORNELLA LATROFA THE PICTORIAL LIST: In your project ASSONANT DIFFERENCES, your photographs blur the distinction between the human body and nature. Why was it important for you to incorporate both images together as a diptych for the presentation of the image as a whole? ORNELLA LATROFA: I thought that a diptych with the two images associated together would have been very powerful and with a strong evocative impact for the viewer. TPL: How does this project differ from your previous work? Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects? OL: Starting from situations and events that capture my attention my idea of representing reality develops. I prefer intimate themes with which I can express my personality. When I was on a London trip to visit my daughter, I walked around the city and started taking pictures in 'The City' District. The buildings with their mirror reflections inspired my previous project: "Between dream and reality"; Peace, silence and reflections": Another project I created, describes the relationship between man and sea. While I was shooting on a cliff, I realized how powerful is the sea. Later on I developed my project: "You are strong"; by associating pictures with poems written by me. In the future I still don't know where my creativity will bring me, I have some projects in my mind but I still need to focus them clearly. For sure the relationship between poetry and photography is a theme that fascinates me a lot. TPL: Ornella please tell us about yourself. OL: I was born and grew up in Rome. When I was a child my father used to paint. He also had another creative passion; he loved to record videos to capture family memories. I’ve always been fascinated by this passion. Later on I attended art studies and I graduated from the State Institute of Art in Rome. The art school taught me the concept of aesthetic sense. At 20, I bought my first reflex camera with which I started experimenting, developing the taken pictures by myself. Nowadays I still live in Rome where I work. I have a family that has absorbed my time over the years, photographing occasionally. TPL: What draws you to photography and art? How did your journey into photography begin? OL: Some years ago, having more free time, I’ve decided to resume my passion in a more demanding way. Attending various schools and studying the famous photographers’ works. In my opinion photography is a form of art, the language I use to express my feelings, to communicate my way of seeing reality. In photography there are different languages that arise from one's mood at a given moment. The moment I take a picture I feel a sense of satisfaction, concretising in the shot what I want to express with my feelings. I like to experiment my creativity with the photographic different techniques. TPL: Is there any advice that you would give yourself if you started photography all over again? OL: Yes, to start over shooting earlier!!! Don’t waste time overthinking and get into your passion. Don’t be afraid of your inexperience you’re going to build your style by shooting. The moment I take a picture I feel a sense of satisfaction, concretising in the shot what I want to express with my feelings. I like to experiment my creativity with the photographic different techniques. TPL: Who are your favourite artists and photographers? OL: A photographer who inspired me at the very beginning was Luigi Ghirri with his images that represent places with a new perception of reality, bringing us to reflect on the way of seeing our surroundings. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? OL: I would love to be able to shoot with a photographer who has more experience than me. I can't tell exactly who among the many masters of photography, but I think such an event would enrich me. The discussion with people with my same passion is always very positive and engaging. I would certainly be very happy about that. 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? OL: I started with a Nikon D7000 and during some years I have been using a Fujifilm XT-4 with a focal length of 18-55mm, 18-135mm and 55-200mm. I don't like manipulating the pictures I take, so I do very few post-production. TPL: When I am not out photographing, I (like to)… OL: I am a very curious and creative person. When I am not photographing, and this is not very frequent, I go to see exhibitions, photography meetings, concerts. Everything is related to art fascinates me. Ornella Latrofa’s captivating work celebrates the connection between our biological shapes and the power of the human body. By creating a visual narrative that speaks to the harmony between ourselves and the natural world, she is encouraging us to reflect on that connection and appreciate its beauty. We invite you to explore Ornella's work and be inspired by her unique style of conceptual photography. VIEW ORNELLA'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.

STORIES IN GARBAGE Jens F. Kruse visually condenses ordinary scenes and objects into a fragmented view changing the context and narrating a new story. STORIES IN GARBAGE March 30, 2022 INTERVIEW PHOTOGRAPHY Jens F. Kruse INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Travelling from Germany to Mallorca in 1999, Jens F. Kruse has been creating a unique artistic landscape of the Spanish island ever since. As a Michelin star chef and award-winning photographer, Jens has crafted a career in both culinary and visual arts. With his roots in analogue photography from the eighties, and later delving into digital landscape photography and street photography, Jens has developed a blog dedicated to his photographic journey in Mallorca. But what sets him apart is his photographic series STORIES IN GARBAGE, a creative take on how one interprets and portrays everyday garbage in an unusual and thought-provoking manner. Now, The Pictorial List has the pleasure of interviewing Jens to find out more about his life in Mallorca and his acclaimed photographic series. “The world is never boring, it is ever exciting, strange things can happen around the next corner, there is always something to capture...Everywhere, every time...I forget what I do...but I am fully aware of what is happening Past and Future exist in the here and now. there is nothing quite like this...Life is candid!” IN CONVERSATION WITH JENS F. KRUSE THE PICTORIAL LIST: Jens please tell us about yourself. JENS F. KRUSE: I was born in Germany in the 60s. In 1999 I immigrated with my family to Spain, where I have been living and working until now. My young heart has been beating for art and music and already at the age of 12, I had the dream of becoming a professional musician. But this was a bit naïve and I started an apprenticeship as a cook. After a short time it turned out that I was very talented and made a fast career (1 Michelin star). I still had not given up on my dream and went back to school to get my A-levels (1991)…Then I studied musicology (but that was too dry for me) and finally art/music! In art, my focus was on photography and land art (1992-1998). In all this time I gave many live concerts and released 4 cd albums, did a lot of art and conceptual photography. When we went to Spain (with two kids), I started cooking professionally again (the bills had to be paid). Since 2009 self-employed as a private chef! During this time I started to photograph my views out of the kitchen windows of my clients with a little Sony cyber shot camera (I loved it), so it was a conceptual work... and it turned into snapshots, moods and detail photographs. It turned into stories on social media and on my website. The final result was the publication of a combined cookbook and lifestyle book, together with my wife! Thinking about taking other food photos and also making the layout extraordinary, I borrowed a Nikon D5600 with a 35mm fixed focal length and started to take really focused photos again...I was already doing street photography without knowing it! Due to professional ban in 2020 with Covid-19, I sold my business and have been a professional street photographer since 2021. I give workshops and I am on the road as a storytelling photographer in a company called Corporate Street! TPL: You say that you studied music and art. How did you become interested in photography? JFK: I took photos before, but more as a location photographer on holiday or with the family. During my studies, I learned the analogue approach and development work completely, what you can do with negatives...(almost) everything we can do digitally today is also possible in analogue. These were rather conceptual, abstract and poetic photo works of mine. Furthermore, I have always been interested in the symbiosis between art and music...which is immeasurable. TPL: How have the streets and culture you capture influence your photography? JFK: Life as such, in all its facets, has always interested me. Through my music I have travelled many countries ( Africa, Brazil, Canada, USA, Europe), learning music there and taking photographs...I had no idea about street photography but I was always interested in the stories behind the motifs, but I was always careful not to have people in my pictures...more mood shots, landscape, lifestyle or poetic views . In 2018 in Stockholm (Sweden) this should change...!!! TPL: Talk to us about your series STORIES IN GARBAGE. Where did the inspiration come from to start the project? What do you want the viewer to experience and take away with them? JFK: I can still remember it very well: about 2 years ago I noticed that a magazine had been carelessly left on the street or thrown away several times. One copy was lying on top, with the cover page on the dustbin, the portrait of a man with closed eyes, looking calm and content. That motivated me...there was a story and that was the beginning of paying attention to stories in the rubbish. I like to put things in a different context, when pictures have a friction...raising questions. Normally we would hardly pay attention to many of the objects depicted in my photographs, as they seem insignificant and banal to us. But torn out of their purely functional context, visually condensed in fragmentary view, they acquire such a strong sensual presence that they can develop a great power of association for the viewer. We do not look at the things, the things look at us. TPL: Do you have any favourite artists and photographers? JFK: Not really! In art as well as in photography there are so many fantastic artists I like very much, whose works influence or inspire me. Not only in street photography, but also for example in documentary, reportage, art or fashion photography...I think of Annie Leibovitz, who I admire very much. By the way, the same applies to film and theatre for me! I like to put things in a different context, when pictures have a friction...raising questions. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? JFK: Since I became addicted to street photography, I naturally study all the great masters from the past and present...There are so many fantastic photographers on the road today. Since I am rarely the fisherman and feel more like a hunter on the street (that's where my adrenaline is), I will mention Matt Stuart as an example! I like his views and his photographic realisations and since I read his book "Think like a Street Photographer", I know that he thinks and sees like I do...I could have written that book...but I didn't (hahahaha...). TPL: When you are out photographing - how much of it is instinctual versus planned? JFK: I'm on the street every day! The camera is ALWAYS with me, even when I'm taking out the rubbish...No matter if I go out at home in my small town or travel to big cities...Most of the time I go off unplanned, so I tend to walk and let my interactions with the street take me to where I hope I'll take a successful photograph. When I'm in the streets I try to be open and relaxed and to allow my eyes to take me to unique new experiences. I love to let myself drift, do I go left or right? Where do I feel the energy I need? But when I'm working on a series, for example, I go off quite purposefully with an image in mind and look for the places where I might find the right motifs. With my corporate streets, the storytelling for companies, I have a rough concept according to which I proceed. I know that in the end a book should come out. 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? JFK: When I started street photography seriously, I had of course read from great photographers that most of them use a fixed focal length (use your feet for zoom!). Nevertheless, or maybe because of that, I went out with a Lumix GM5, 12-32mm. That's a bit wide-angle but by the end of the day, I was pretty far away and cropping! It helped me get over my fear in the beginning and it was a great dry run. I then extended it a bit with a 7-14mm Vario lens on the camera. That was pretty fun and I got a lot of pleasure out of it. That was a lot of fun and I get great crops with it, but since I got the Leica Summilux 1:1.4/25mm lens on my camera I know the photographers are right! It's a whole different thing to shoot with a fixed focal length. You approach your subjects very differently, the compositions become different, and you don't crop! I recently started using the fujifilm X100v with a 23mm fixed focal length, sometimes with a wcl converter...that's the equivalent of a 28mm fixed focal length. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? JFK: I am very satisfied with my photographic career in street photography so far. In addition to individual and group exhibitions, some of my pictures have been awarded prizes internationally or have been published in books. However, I would like to step on the gas a bit more, there is still room to get even more attention. I love to pass on my knowledge! I am a very good teacher, I know that from my experience in music and cooking! Maybe my pictures will be so interesting that photographers will want to know how I take them! Technique, focal lengths, depth of field, etc.. You can learn all these theoretical things and with experience, you learn how to deal with them...that can be learned. What you can't learn in books or on YouTube is the seeing, the perception, the mindfulness, the courage or the humility with which you should be on the road...someone has to show you that and explain...why that is so important. I like to pass that on in workshops. Of course, I would like to have more exhibitions with picture sales, that's for sure. Sales are starting but it could be more. With my corporate street thing, I would like to have more stability in the orders. But that will all come, I'm sure. All this is to say that I can make a living from the photography I want to do. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JFK: Every month I travel to a big European city and spend a week there to photograph on the street, to improve myself, to consolidate my photographic handwriting, you never stop learning. I also work on different series, which means I go out specifically to photograph a theme. It's one thing to select pictures from your archive that have a common theme, and then put them together in a series, or if you're working specifically towards a new theme. A very new collaboration with a pianist: we did an online session where she improvised on the grand piano to a picture of mine (which she had chosen)...it was an incredible experience. My picture started to move, and the music gave me the feeling of being in the middle of the picture. Then, we turned it around: she sent me a music recording and I went off and made a picture to go with it. An approach that is very unusual for me, very exciting ... out of my comfort zone. TPL: When I am not out photographing, I (like to)... 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