Be inspired by the photographers on the 2020 List. 2020 PHOTOGRAPHERS © Abbie Briggs ABBIE BRIGGS Wisconsin USA ABHAY PATEL Delhi INDIA ABHISHEK SINGH New Delhi INDIA ADAM SINCLAIR Melbourne AUSTRALIA ADESH GAUR Uttar Pradesh INDIA ADRIAN TAN SINGAPORE ADRIAN WHEAR Melbourne AUSTRALIA AHMET HOJAMYRADOV Minsk BELARUS ALEX FRAYNE Adelaide AUSTRALIA ALEXANDRA AVLONITIS New York ALEXEY STRECHEN RUSSIA ALICIA HABER Montevideo URAGUAY ANEEKA MANKU England UNITED KINGDOM ANGEL CARNICER Zaragoza SPAIN ANNA MARCHIOLI FRANCE ANNETTE LANG Nice FRANCE ANTONIS GIAKOUMAKIS Athens GREECE ANWAR SADAT Nairobi KENYA ARTURO CAÑEDO Lima PERU ASHISH PATEL Delhi INDIA ASSIA STARKE RUSSIA/AUSTRIA ASTRID NEUNDLINGER Vienna AUSTRIA B JANE LEVINE New York USA BELINDA CORNEY London UNITED KINGDOM BENNY VAN DEN BULKE BELGIUM

Be inspired by the photographers on the 2021 List. 2021 PHOTOGRAPHERS © Meryl Meisler AGATA LO MONACO ITALY ALAN THEXTON Melbourne AUSTRALIA ALEX RUTHERFORD Surrey UNITED KINGDOM ANDRES GONZALEZ Porto PORTUGAL ANDREW ROVENKO Melbourne AUSTRALIA ANDRÉ LOBÃO London UNITED KINGDOM AURÉLIEN BOMY Nantes FRANCE BARRY BOTTOMLEY London UNITED KINGDOM BASTIAN PETER Basel SWITZERLAND BEN ALLAN London UNITED KINGDOM BETTY MANOUSOS Athens GREECE CAMILLE WHEELER Texas USA CARLA HENOUD Beirut LEBANON CAROL DRONSFIELD New York UNITED STATES CHICHEK BAYRAMLY Baku AZERBAIJAN CHRISTINA SIMONS Melbourne AUSTRALIA DAMIEN GORET FRANCE DANIEL GOLDENBERG Buenos Aires ARGENTINA DANIELA PEREIRA Montevideo URUGUAY DANNY JACKSON Essex UNITED KINGDOM DAVID KUGELMAS New York UNITED STATES DAVID LAWLESS Winnipeg CANADA DAVID SHORTLAND London UNITED KINGDOM DREW KELLEY California USA EDUARDO ORTIZ Valparaiso CHILE

Be inspired by the photographers on the 2024 List. 2024 PHOTOGRAPHERS © Anna Tut ALEXANDROS ZILOS Athens GREECE AMY HOROWITZ New York UNITED STATES ANA-MARIA ALB Bukovina ROMANIA ANN PETRUCKEVITCH UNITED KINGDOM ANNA TUT Krasnogorsk City RUSSIA CARMEN SOLANA CIRES Madrid SPAIN CATIA MONTAGNA SCOTLAND/ITALY DASHA DARVAJ UMRIGAR Karachi PAKISTAN DEDIPYA BASAK Kolkata INDIA EDWIN CARUNGAY San Francisco UNITED STATES FRANCE LECLERC Chicago UNITED STATES ISABELLE COORDES Münster GERMANY JOHN KAYACAN Los Angeles UNITED STATES JUSTINE GEORGET Lyon FRANCE MARIETTE PATHY ALLEN New York UNITED STATES MATTHIAS GÖDDE Beckum GERMANY MEI SEVA New York UNITED STATES MIA DEPAOLA Washington D.C UNITED STATES NAZANIN DAVARI Tehran IRAN PAUL COOKLIN UNITED KINGDOM PEDRO VIDAL Barcelona SPAIN RAFA ROJAS São Paulo BRAZIL ROMAIN COUDRIER Marseille FRANCE ROWELL B. TIMOTEO La Union PHILIPPINES SASHA IVANOV St. Petersburg RUSSIA

Some photographers are content to sit behind the camera and observe the world go by. Others use the camera as a stage to engage with the world, shouting out loud, sharing their vision. I tend to be the former. My home loan paying job requires me to step up and fully engage with the world. I use my photography as a way to regain my zen, drawing strength from the people I observe through the view finder. JASON PHANG Some photographers are content to sit behind the camera and observe the world go by. Others use the camera as a stage to engage with the world, shouting out loud, sharing their vision. I tend to be the former. My home loan paying job requires me to step up and fully engage with the world. I use my photography as a way to regain my zen, drawing strength from the people I observe through the view finder. LOCATION Auckland NEW ZEALAND CAMERA/S Fujifilm X-T30 WEBSITE https://goodintentions.nz/ @JASEINNZ FEATURES // Finding His Zen

WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. WALKING BUENOS AIRES August 16, 2023 INTERVIEW PHOTOGRAPHY Alex Gottfried Bonder INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Buenos Aires is a vibrant city known for its unique culture and colorful nightlife, and is home to street photographer, Alex Gottfried Bonder. Since his arrival in 1994, Alex has explored the urban landscape of Buenos Aires through his work, capturing moments in time that are both mundane and extraordinary. His love of street photography is driven by his curiosity and creativity; it encourages him to wander through neighborhoods that are often overlooked to discover the hidden beauty of this dynamic city. Alex’s portfolio is expansive, including participation in various exhibitions, and even a book, “Caminando Buenos Aires”, published in 2018. As an artist, he is uniquely drawn to irony and the absurd, and his photographs reflect this aesthetic. Alex has drawn inspiration from many figures in the field, but particularly admires Elliot Erwitt for his ability to capture a moment with such humor and poignancy. This interview will take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. Join us as we explore Alex’s creative process, inspirations, and the unique perspective he has on this historic city. “I am convinced that the pillars of my street photography are curiosity, the capacity for observation and creativity. If any of these elements were missing, it would be very difficult to obtain satisfactory results.” IN CONVERSATION WITH ALEX GOTTFRIED BONDER THE PICTORIAL LIST: Hello Alex, welcome to The Pictorial List. Let us begin by telling us about yourself. ALEX GOTTFRIED BONDER: I was born in 1962 in Santiago de Chile. For family reasons, in 1977 I left for Israel. Since I was 15 years old, I was greatly attracted to art, so at 17 I left school and went to study fine arts at an institute in the city of Tel Aviv. I remember that I was the only minor, since due to the compulsory nature of military service, all the other students could only start studying once they had finished. In 1981, I left for Italy, also with the hope of studying fine arts. And for the next two years I studied at the “Accademia di Belle Arti de Carrara”, doing a little bit of everything, painting, drawing and sculpture. And while I did take some photos, photography was not a priority for me at the time. 1983 it was my turn to go to Switzerland, where among other things I had the opportunity to learn Vitraux techniques and also begin my experience with black and white and laboratory photography. During 1994, I moved to Buenos Aires. Although at first, I thought of dedicating myself to tourism services, things turned out differently, and shortly after I started working as a photographer at the Faculty of Dentistry of the University of Buenos Aires, doing what is called “dental photography”, and for the next 23 years I dedicated myself almost exclusively to that type of photography. My beginnings with street photography occurred in 2013, when I was able to buy my first compact camera, with an interchangeable lens. It was the only way to overcome the fear of going out on the streets of the city, with a camera in hand without fear of being a victim of insecurity, or of risking too valuable equipment, since it gave me the chance to put it away almost immediately, in my jacket pocket. Currently I dedicate myself almost exclusively to teaching photography courses and workshops. TPL: What would you say first drew you to photography? What is it about this medium that you still have a passion for today? How did street photography find you or how did you find street photography? AGB: I remember that from a very young age, I felt a great attraction to cameras and the magic they produced. Added to that, I always felt a need to develop creative activities, both drawing and painting, sculpture, printing, stained glass, and I even made Super 8 films. Unfortunately, for one reason or another, I was only able to start practicing photography seriously as an adult. I think that street photography attracts me and helps me in particular because it allows me, on the one hand, to satisfy that curiosity that I have to discover new places, observe people in their surroundings, feel those aromas that are so varied depending on what part of the planet you come from, perceiving colors, etc., and on the other hand, being able to generate something creative with everything I see. TPL: Could you tell us what living in Buenos Aires has inspired in your work? What special qualities unique to this city influence your street and the way you portray your community? AGB: Buenos Aires is a fascinating city, like most big cities. There is not much to add. Each city has its own idiosyncrasies, and Buenos Aires is no exception. But once again, what moves me the most is the need to get to know every corner of the city, and of course I take pictures along the way. On the other hand, I always like to repeat that Buenos Aires is the Argentine capital of the “absurd”, since we constantly find ourselves facing situations that would surely be impossible to explain, with words, to someone from another place. At first I try not to take documentary-type photographs, but rather to think that I can invent from what I call “the elements available to the photographer” which is everything I see, starting with people, buildings, advertisements, graffiti, lights and shadows etc. That is why I say that creativity is essential for my type of photography. ! TPL: Where do you find your inspiration to keep photographing? AGB: I don't know if the correct word is “inspiration”. But what moves me is surely the expectation of ever, one day getting that unique, unrepeatable photo, better than any of the photos I've taken so far. TPL: There are two techniques that are colloquially referred to as ‘hunting’ and ‘fishing’ in street photography. When you are out on the street taking pictures, are you a ‘hunter’ or a ‘fisher’, or is it a combination of both? Please describe your process. AGB: I believe that I can be both a ‘hunter’ and a ‘fisher’, and this is clearly seen in the photos that I shared with you. The most spontaneous or candid photos are the product of a more ‘hunter’ attitude, always with the camera in hand, attentive, observing from all sides what is happening and predicting what may happen. Waiting for that ‘something’ that can happen at any moment unexpectedly. On the other hand, when I see something striking, such as a mural, graffiti, architecture, a shadow, or anything else that my imagination turns into an image, I become a ‘fisher’ waiting for someone to pass so that I can eventually finalize the ‘construction site’. There are photos like the one of the dentist with the tweezers, which has taken me several days to achieve the imagined result, since it doesn't just happen by being in the place, having the camera in hand and taking the photo. And here let me emphasize that in my humble opinion, at least in my case, both one mode and the other require a large dose of luck to accompany me, since, without it, surely I would not be able to take photos, so to speak. Then there is also the geographical factor. There are parts of the city, such as the financial sector, in which, having a high population density, it is easier to assume the ‘hunter’ mode. It's like fishing in a troubled river... On the other hand, on a Sunday morning, on a less-crowded avenue, it is surely more feasible to have a ‘fisherman’ attitude since we will have more time available to imagine and mentally assemble possible photos. Personally I think that the ‘hunter’ type photos tend to be more original and unrepeatable, while the ‘fisher’ type are usually more creative but not so unrepeatable. It is for this reason that I do not show several of my photos until a few years have passed, when it is totally impossible to take a similar shot. TPL: What is the most rewarding part of being a street photographer for you? What are some of the challenges that you have faced? AGB: I think the most satisfying thing that can happen to me as a photographer is to see my photos framed on a gallery wall, appreciated by viewers. See the smile on their faces as they look at my photos. When it comes to challenges, there always are. Daily. It may be gathering enough courage to go and discover marginal neighborhoods, considered unsafe, or having lost the fear, or rather the shame of asking permission to take a close-up portrait of strangers. A daily challenge, and enormous, is to try not to repeat photographs already taken a thousand times, not to turn my photography into a kind of craft. Look for originality. The construction of an image does not only involve the person or people who are in the frame, but also the environment that accompanies it. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? AGB: From the moment I leave my house I become a 360° camera. 😉 The question is how long one can be 100% focused on street photography. TPL: Where would you say your curiosity for people comes from? AGB: Some people are naturally curious and some are not. I am curious. And that includes curiosity about the behavior of people, in the environment in which they are. But again, the construction of an image does not only involve the person or people who are in the frame, but also the environment that accompanies it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? If you could just choose one photographer to shoot alongside for a day..., who would you choose? And why? AGB: Yes of course. First I would put Elliott Erwitt. His unique gaze has always fascinated me. His sense of irony is incredible. Then, there is something in Sergio Larraín's work that I also like a lot. And I cannot fail to mention André Kertész, Josef Koudelka, etc. But normally I try to refrain from making this type of list, since it is impossible to name all those who in one way or another deserve to be named. AGB: Well, if the question is about photographers from the past, surely Elliot Erwitt. But I would also have liked to be able to share with Richard Sandler a tour of the New York subways in the 80's. ! TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on your wishlist? AGB: 1980…I bought my first camera. An Olympus OM10. I currently use the micro four thirds format with a 35mm (equivalent) lens. With respect to wanting to buy something more modern or different, the truth is that I am already at that stage in which I realize that no new camera is going to improve my photographs in any way. My limitations are in myself, they are not technological (I read it somewhere...). TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals for the next 3-5 years? AGB: If it can be defined as a project, it could mention being able to have (remarkable) street photos taken in each of the 48 neighborhoods of the city. Another project that I am slowly starting to work on is the publication of my second book on street photography in Buenos Aires. TPL: “When I am not out photographing, I (like to) ... AGB: When I'm not taking photos in the streets...I'm deleting most of the photos I took…haha...but I like movies and rock music.” Thank you very much TPL for the opportunity to exhibit my work. Alex Gottfried Bonder has been capturing the life and soul of Buenos Aires for many years. His work is an interesting mix of the mundane and extraordinary. Through his curiosity and creativity, Alex has created an expansive portfolio of images showing the hidden beauty of his city. Street photography has been a great source of inspiration for Alex, and he enjoys uncovering the truths of Buenos Aires through his lens. To learn more about Alex and his work, we invite you to reach out to him and view more of his portfolio through the links below. VIEW ALEX'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> !

I'm a native NY'er with a illustrative background, I always worked in the arts and was always the photographer in my family. I learned to use a Pentax K1000 SLR back in the 80s, I have a Nikon DX digital, but all my street photography I do has been solely with my mobile Samsung Galaxy. Mostly black and white work with some color, I am drawn to compositions that usually have strong shadows and patterns. I also am sensitive to a lonely look or a person's condition who might not be well or down on their luck. I myself struggle with multiple sclerosis which derails me at times from my every day life. When I'm healthy enough to get back to it, my street photography has become a healing tool, connecting me to the city I love and all it has to offer. I will never stop...it's that important to me! ELLE CLARKE I'm a native NY'er with a illustrative background, I always worked in the arts and was always the photographer in my family. I learned to use a Pentax K1000 SLR back in the 80s, I have a Nikon DX digital, but all my street photography I do has been solely with my mobile Samsung Galaxy. Mostly black and white work with some color, I am drawn to compositions that usually have strong shadows and patterns. I also am sensitive to a lonely look or a person's condition who might not be well or down on their luck. I myself struggle with multiple sclerosis which derails me at times from my every day life. When I'm healthy enough to get back to it, my street photography has become a healing tool, connecting me to the city I love and all it has to offer. I will never stop...it's that important to me! LOCATION New York USA CAMERA/S Samsung galaxy s7edge and s10+ WEBSITE http://www.elleclarke7.wixsite.com/mysite @ELLECLARKE7 @ELLECLARKE_7 FEATURES // Fabric of New York Visuals

NEW YORK VISIONS Sandra Fine's journey with photography is intertwined with her journey through life, encompassing multiple photographic and art genres. NEW YORK VISIONS October 27, 2021 INTERVIEW PHOTOGRAPHY Sandra Fine INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sandra Fine photographs all around herself, so therefore her work encompasses multiple genres. Sandra has a Masters of Fine Arts from Pratt Institute in Brooklyn, New York, where she was greatly influenced by her teachers and classical photography. Beginning her photography journey as a black and white film photographer, working in the darkroom was her favorite place to be. Her conversion to working solely in digital color was a slow evolution, but as she states..."here I am!" “Street photography became a big part of my life when I started taking lengthy walks (at least 5 miles) around the city a few years ago. The walks became part of my daily routine and I loved exploring the city with my camera. The city itself has a rhythm and a buzz. It has a very complicated soundtrack that changes with the time of day and the weather. The visual vibrance is similar to the soundtrack. There is a constant visual discovery of reflections, architecture, people, vehicles and light in the street. During the quarantine I began my walks before dawn. I often felt that I was photographing silence and the remnants of people. The quiet in the streets had a sadness and beauty to it.” IN CONVERSATION WITH SANDRA FINE TPL: Sandra please tell us about yourself. SF: I was born in New York City and have spent much of my adult life there. I am a fine art and street photographer who combines my love of walking and exploring New York City with my passion for photography. I studied photography and art at Pratt Institute and received an MFA in photography. I started in 35mm black and white film photography. I hand painted on the photos and transitioned into medium format work. I eventually embraced digital photography and found my way to color, which was a gradual evolution, because for so long, I loved the darkroom. TPL: How did you become interested in photography? What does photography mean to you? Describe your style. Where or how do you find inspiration? SF: I was always interested in art growing up. My father was the family photographer and I loved looking at family pictures and albums (I still do). I took my first photography class in college and used my father's old camera which was a Minolta A-2 in a beautiful leather case. It was completely manual. My passion for photography creeped into my consciousness which led me to study at Pratt. Photography is sewn into my life. I go everywhere with my camera and shoot everything. Inspiration is not hard to find. I find it all around me, on the streets, in nature, in books, in museums, in cinema and with my family. TPL: What are some tips or advice you would give yourself if you started photography all over again? SF: That is a hard question to answer. My journey with photography is intertwined with my journey through life, so it becomes a philosophical question for me. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SF: I have many. I will name the photographers that had a particular influence on me in my early years: Andre Kertesz, Henri Cartier-Bresson, Walker Evans, Dorothea Lange, Imogen Cunningham, Lisette Model, Robert Frank, Helen Levitt. The teacher who had the greatest influence on me was Phil Perkis. I have also been influenced by painting, particularly in composition. I love Matisse for his compositions and the brilliance of his cut-outs which tell you so much about shape and color. Photography is a kind of love affair with your subject. TPL: When you are out shooting - how much of it is instinctual versus planned? SF: Nothing is planned. I go out expecting something, but there are good days and not so good days. 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?) SF: I use a Sony A7R and a 35mm lens. I like the smallness and lightness of it. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? SF: I have begun a special project with another photographer that is outside the box for both of us. I am very excited about it but feel it is in its infant stages, so it is too early to talk about. I would like to look through my years of film work, organize it, digitize it and make sense of it. I also would like to keep working and growing as a photographer and find an audience. TPL: "When I am not out photographing, I (like to)… SF: I like to swim, read, crochet, watch movies, and spend time with my husband, family and friends." Sandra's journey with photography is intertwined with her journey through life, encompassing multiple photographic and art genres. Connect with Sandy through the links below and follow her on her journey of life. VIEW SANDRA'S PORTFOLIO Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I am a self-taught street and documentary photographer, passionate about capturing the beauty and stories of everyday life. During the weekdays, I work for a leading global e-commerce and tech corporation, but my weekends are devoted to expressing my creativity through photography. The uncertainty and spontaneity of street and documentary photography are what draw me most to these genres. Over the years, documenting people has given me invaluable opportunities to explore the unknown and embrace the diverse realities of human life. I also curate the popular Instagram handle Streets of Calcutta, which showcases the vibrant culture and stories of my city. For me, photography is not just a passion or hobby, it has become an obsession. It has helped me grow personally, allowing me to view life from different perspectives. I believe that even the most mundane scenes can be turned into compelling stories through clean and thoughtful composition. The process of creating street photography is especially exciting for me. There is no control over people’s reactions or who enters or exits the frame, instead I must anticipate and capture fleeting moments as they unfold. This practice has taught me resilience, patience and attentiveness to the small details of life. It has also shaped my perspective, making me more tolerant, empathetic and kind in nature. My work has received recognition both nationally and internationally. My photos have been published in renowned forums, won multiple awards and have been exhibited globally. A special highlight of my journey was when legendary street photographer Joel Meyerowitz praised one of my works, saying, “It is the kind of picture I felt I could live with.” AYANAVA SIL I am a self-taught street and documentary photographer, passionate about capturing the beauty and stories of everyday life. During the weekdays, I work for a leading global e-commerce and tech corporation, but my weekends are devoted to expressing my creativity through photography. The uncertainty and spontaneity of street and documentary photography are what draw me most to these genres. Over the years, documenting people has given me invaluable opportunities to explore the unknown and embrace the diverse realities of human life. I also curate the popular Instagram handle Streets of Calcutta, which showcases the vibrant culture and stories of my city. For me, photography is not just a passion or hobby, it has become an obsession. It has helped me grow personally, allowing me to view life from different perspectives. I believe that even the most mundane scenes can be turned into compelling stories through clean and thoughtful composition. The process of creating street photography is especially exciting for me. There is no control over people’s reactions or who enters or exits the frame, instead I must anticipate and capture fleeting moments as they unfold. This practice has taught me resilience, patience and attentiveness to the small details of life. It has also shaped my perspective, making me more tolerant, empathetic and kind in nature. My work has received recognition both nationally and internationally. My photos have been published in renowned forums, won multiple awards and have been exhibited globally. A special highlight of my journey was when legendary street photographer Joel Meyerowitz praised one of my works, saying, “It is the kind of picture I felt I could live with.” LOCATION Kolkata INDIA CAMERA/S Nikon D5100, Fujifilm XT-200 and One Plus 12 @AYANAVA3 FEATURES // Streets of Kolkata

DE-SIDERA The clocks have stopped and time waits outside. Gabriele Gentile travels across Italy capturing the beauty of ancient buildings in decay. DE-SIDERA February 4, 2022 INTERVIEW PHOTOGRAPHY Gabriele Gentile INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In a world of ever-evolving technology, it can be easy to forget that the power of photography is rooted in the ability to capture moments in time and immortalize them for generations to come. It's a special art form, but one that takes skill and dedication to perfect. This is especially true for photographer Gabriele Gentile, whose work focuses on the time-stopping nostalgia of decaying structures across Italy. Gabriele was born and raised in Parma and studied the humanities and communication fields, but it wasn't until his thirties that he got into digital photography. Immediately captivated by the potential of the art form, Gabriele has since devoted himself to capturing and preserving the beauty of these sites from the past, focusing on the history and charm they exude. In his project DE-SIDERA, Gabriele has sought to showcase the remarkable range of structures that time has left behind, including villas, palaces, castles, theaters and hotels. He has been driven by a passion to replicate the timeless beauty of these places through photography, with a sense of nostalgic reverence for their former glory. Gabriele's photos give viewers a glimpse of a bygone era and the beauty of decay. Each image invites us to pause and ponder all that has come before us, while also inspiring us to appreciate the present moment. Through his stunning photographs, Gabriele brings together the past and present, reminding us of the power of photography as an art form that captures and preserves moments in time. “I have been hunting for these places since six years ago, traveling all around Italy looking for abandoned beauty, to be able to eternalize it with my photographs. Waking up in the middle of the night, kilometres of Italy between deserted highways and narrow streets of small villages, intricate woods and wild gardens to cross. But when you are inside every effort disappears: you look up and that beauty, illuminated by the sunrise, it envelops and pervades you, with the taste of dust and background of silence. It's just you and her, the great abandoned beauty. The clocks have stopped and time waits outside.” IN CONVERSATION WITH GABRIELE GENTILE THE PICTORIAL LIST: Gabriele please tell us about your project DE-SIDERA? What does the title mean and where does it come from? What was the inspiration behind your project and when did it begin? Is it an ongoing project? GABRIELE GENTILE: 'De-sidera' is undoubtedly my most substantial project, both in terms of the number of shots and the time and energy devoted to it. In fact, my approach in a serious way to the photography I mentioned above substantially coincides with the beginning of this project, a project that I continue to carry out today, although I try not to divert attention from other ideas and photographic genres that are a part of me. heart. Abandoned places fascinate me since I was a child, after all they represent ancestrally the unknown to be (re)discovered, a limit to be overcome, and their most magnificent part, which is the one I am looking for specifically, satisfies the aesthetic sense that is at the basis of my idea of photography. The term de-sidera comes from Latin (language studied in my classical path) and literally means "lack of stars". It immediately seemed like a perfect intuition as the title of this project, for various reasons: it indicates a desire in the sense of lack, nostalgia, and the nostalgic side of these photographs, as well as of my character, is very accentuated, as is the strong my desire to enter these places and discover the beauty hidden inside. Furthermore, by photographing for my precise stylistic choice only the interiors of these buildings and never their external appearance, the lack of stars also becomes literal, although metaphorically the stars continue to shine in the decadent beauty of these places. TPL: How did you become interested in photography? GG: I approached photography progressively, initially thanks to new technologies, then I became more and more passionate about photographing, excited by the power of photography to fix a moment, making it eternal. From there, about six years ago, I started to deepen it in a serious way and with adequate equipment. TPL: Talk to us about your photography. What is it that inspires you to be a visual storyteller? How have your captures changed the way you see? GG: In reality my shots have not changed my way of seeing, simply my way of seeing has been translated into my shots. I notice that I have like a little camera built into my eyes, and I think that's my gift. Maybe I don't pay too much attention to a wonderful rainbow in a pleasant landscape but I always manage to grasp that detail, that cutout that interests my story. Beyond any vision, I don't photograph what I see but simply what I think. So ultimately for me to be a photographer is to express myself through images. TPL: Do you ever get burnt out creatively? Explain how you keep the creative energy flowing. GG: Consistency is definitely not my merit! After all, I think that creativity is not a talent that can be constantly active, it is like a fire, sometimes it goes out but if you continue to keep the embers warm under it it will rekindle. This long period of the pandemic (perhaps not only for objective limitations but precisely at the level of creativity) was not easy from my point of view, but I try to keep the flame always burning, even continuing to stimulate myself through various forms of art. A painting exhibition, a film, a book, even the verse of a song can give birth to something. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GG: I am perhaps more attentive to past artists than to purely contemporary ones. In addition to all the expressionist current in the field of painting, if I had to name two names in the photographic field I would certainly say Franco Fontana and Luigi Ghirri. I fell in love with Franco Fontana at first sight seeing an exhibition of him in Tuscany. His use of color, rendered not as a complement but as a photographic subject, is just what I hear and see too, so admiring and knowing his production was like feeling understood! Of course, “De-sidera” of all my projects is the one where the use of color catches the eye less, but it's still important. I could not imagine black and white photographs of my abandoned places for example. Luigi Ghirri is another great Italian photographer of international fame and his use of space, also and above all of negative space, is pure poetry for me, and the same feeling I felt for Fontana about color is valid. What do you have against nostalgia? It is the only entertainment that is given to those who are wary of the future. - Paolo Sorrentino TPL: If you could choose just one photographer to shoot alongside for a day...who would you choose? And why? GG: Surely Franco Fontana, beyond the purely technical aspect of photography (which for me, as for him, is certainly not the most important) would undoubtedly be a great human and philosophical enrichment, as well as fun! TPL: What are some tips or advice you would give yourself if you started photography all over again? GG: Many photographers even of the highest quality are self-taught, so this is not necessarily a bad thing. However, if I could start again today I would do specifically photographic studies. 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? GG: Going back to the above, for me photographic equipment is nothing more than a means. So I simply try to be equipped with the means that I believe are most suitable for what I want to do and transmit, without being a slave to them. In this case I started photographing with Fujifilm and finding myself well I have remained faithful to the Fuji system until today. In reality, if I had to choose a preferred focal length, it would be those close to the angle of view of the human eye (for example a 50 mm) or even a telephoto lens for my more abstract and minimal visions. I don't particularly like wide-angles as a rendering but it is obvious that in this project that falls within the field of architectural interiors I had to resort to them right away. However, I try not to abuse it when possible for the environment in which I find myself and for the shot I want to produce, thus preferring the use of wide angles in their less thrust version. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GG: I'll answer you with a quote that I love from one of my favorite films, “La Grande Bellezza” by Paolo Sorrentino: “What do you have against nostalgia? It is the only entertainment that is given to those who are wary of the future.” Beyond the joke, I don't like looking too far ahead. I would like to continue this specific path to discover new abandoned places to immortalize and show to people, cultivate and deepen the humanistic and photographic themes that fascinate me most, and the dream is to be able to insert myself in the environment of the art galleries. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? GG: I won't tell you too much because everything is in an embryonic phase, but I'm working on the theme of the environment, even in its relationship of encounter/confrontation with man. Obviously always developed with my point of view and my language. TPL: When I am not out photographing, I (like to)… GG: What can an Italian do? Go to the stadium! Apart from this Italian vice, I am a great fan of electronic music (especially Trance), we hope that the pandemic can gradually subside and make us return to our passions with carefree. Gabriele's project has highlighted the timeless beauty of structures left behind by time. By capturing these places in all of their former glory, Gabriele has been able to evoke a sense of nostalgia and appreciation for the history that came before us. His work demonstrates the power of photography as an art form that can capture and preserve moments, connecting us to the past and allowing us to appreciate the present. VIEW GABRIELE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

SOHO SHADOWS Using layers and reflection, shadows and light in his photography, Darren Sacks wants to show the frequently photographed Soho in a slightly different way. SOHO SHADOWS February 3, 2023 INTERVIEW PHOTOGRAPHY Darren Sacks INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For Darren, photography is far more than just a hobby; it’s a way of life. From his childhood days spent with an old book of photos tucked under his arm to his current work capturing the beauty of the everyday, Darren has been on a lifelong journey in pursuit of capturing moments that will last forever. It all began when he was a young boy, finding a book of photos and marveling at the beauty of what he saw. As he perused through the pages, something stirred in him - a passion for photography. Even then, Darren knew he wanted to freeze time and preserve memories that could be shared and admired for years to come. And so, in an effort to learn more about this art form, he began studying and experimenting, gradually honing his skill until he could finally call himself a photographer. Today, Darren spends his days around central London, seeking out scenes and objects that are often overlooked and helping them to shine in a new light. By combining layers, reflections and creative use of shadow and light, he is able to transform ordinary scenes into striking works of art that draws in viewers. Through his work, Darren is able to share his passion for photography with the world, and continues to strive to find unique ways to capture moments. Join us as we explore Darren’s journey as a photographer. “I enjoy using light and shadows, layers and vibrant colour to create my images and will usually spend time building and layering a scene once I find a composition that I think could be interesting.” IN CONVERSATION WITH DARREN SACKS THE PICTORIAL LIST: Hello Darren…welcome to The List! Let's start by telling us about yourself. What would you say first drew you to photography? DARREN SACKS: Hi there, thanks for having me. I am originally from Johannesburg, South Africa and moved to London six years ago. I am a UX designer in London. I was initially drawn to photography because I liked being able to document moments that would otherwise be missed. I always remember having a camera with me and wanting to document moments while travelling. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? DS: I enjoy using light and shadows, layers and vibrant colour to create my images and will usually spend time building and layering a scene once I find a composition that I think could be interesting. When I am taking photos I don't usually include a subjects’ face as the primary focus of a shot. Instead I will look to weave a human element into an abstract scene be that through silhouettes, shadows or some details. I think there is a paradox in my work because I prefer to shoot with longer lenses which quite often would simplify a frame and lead to not having many subjects or objects in one image. Yet, very often I enjoy creating layered, abstract works which have a certain complexity. TPL: Could you tell us what living in London has inspired in your work? What special qualities unique to London influence your street and the way you portray your community? DS: Moving to London really inspired me to start taking photos again. Being a foreigner in London, I still feel like a tourist in my own city. I think street photography really enables me to appreciate the smallest details that would often be overlooked. TPL: When you take pictures, do you usually have a concept in mind of what you want to photograph, or do you let the images just "come to you", or is it both? Please describe your process. DS: The only thing I know when I go photograph is the approximate area I will start for the day. The rest is totally unplanned, and that for me is one of the most enjoyable things - never knowing when or where I’ll get my next shot. I often joke that my directions around London are not great and they really should be as I spend hours and hours walking the streets, but I’m so absorbed in what’s going on around me, I often don’t know where I am. That’s something I really like about street photography, being in the middle of a really busy and noisy place, but being so focused on noticing light or moments that it almost becomes silent. I think there is something really powerful in that. TPL: What is the most rewarding part of being a photographer for you? What are some challenges that you have faced? DS: Photography has taught me patience, sometimes I will revisit a place over time for a shot or stand in one place for a long time to capture that single image. The reward of capturing that moment is a great feeling. Recently, someone I took a photo of, found their image on Instagram and was really happy with it. That was also pretty cool. I have also managed to build a great network through Instagram, and engage with people from all over the world - which I really appreciate. A challenge - sometimes I’ve gone through periods where I’m not getting shots I like or I feel like I’m not growing as a photographer and I suppose it’s about being able to reflect and switch it up to stay motivated and move forward. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? DS: This is a great question - and I am sure all photographers can relate to this. I don’t think it’s possible. I was in Central London the other night without a camera for the first time in a long time and I felt like I could not switch off from being aware of what was going on around me or from looking for a shot. Moving to London really inspired me to start taking photos again. Being a foreigner in London, I still feel like a tourist in my own city. TPL: How do you manage a work/photography balance? DS: I’m fortunate to have a good balance. In the Summer I try to shoot twice a week and in the Winter only once a week. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DS: My favourite photographer and biggest inspiration is Saul Leiter. I’m fascinated by the way he constructed his images. His use of colour, light and layers is incredible. I also enjoy the work of Ernst Haas, William Eggleston, Alex Webb and Joel Meyerowitz to name a few. TPL: If you could just choose one photographer to photograph alongside for a day...who would you choose? And why? DS: It would have to be Saul Leiter. It would be incredible to be able to observe his process while he captured those legendary images. But also having the opportunity to be able to chat with him about his approach to life and photography would be excellent. Leiter was known for being extremely humble, not being a boastful person and always treating others with kindness and respect. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Does the equipment you use help you in achieving your vision in your photography? Is there anything on your wishlist? DS: The first camera I held, brought to my eye and released a shutter on was my father’s Yashica FX-7 (I’m not sure there was any film in it - I may have been only 5 at the time but I always wanted to hold that camera and click the shutter). My first camera was a Nikon D90 which I still have. I currently shoot with Fujifilm. I have an X-Pro2 and X-H1 and my everyday lens is the 50mm F2. I do have a 55-200mm which I enjoy using for my layering and reflection work as it provides great flexibility and other options for getting a different perspective for abstract work. I am thinking about upgrading to a newer body for faster autofocus. The Fujifilm X-H2 with the new 56mm F1.2 looks like a great combination. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? DS: I am currently working on some project ideas, but nothing formalised as yet. I’ll update my Instagram and website with news on these. My main photography goal is to continue to grow and evolve as a photographer and continue to try to shoot things in my own way. Having an exhibition and printing a photobook are also part of the future plans. In five years I hope to be able to look back to now and be happy with the growth I’ve made in my work. TPL: “When I am not out photographing, I (like to)… DS: Play tennis, play the guitar and sing.” Darren Sacks' inspiring journey shows us his relationship to his city, discovering the streets with his camera and showing us a different side of Soho in London, capturing the moments and transforming them into works of art. We invite you to join us as we explore more of Darren's photography. VIEW DARREN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

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. 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. October 12, 2025 INTERVIEW PHOTOGRAPHY Anton Bou INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the work of Anton Bou, photography unfolds as both a method of inquiry and an act of exposure. A self-taught photographer who also carries the long practice of psychoanalysis, Anton situates his images in the fragile space where identity is less a fixed truth than a shifting encounter. His series It Started as Light…Ended in Shivers… reflects this search: photographs that oscillate between the intimate and the uncanny, between the momentary shimmer of sensation and the residue of fracture. Anton’s photographs resist conventional anchoring. They operate nomadically, migrating between personal memory, collective atmosphere, and visual estrangement. This restlessness mirrors his own life divided between Montreal, Mexico, and “other elsewheres,” where the camera becomes what he calls “a mouth that devours everything.” It is through this appetite for sensation that his practice navigates collapse and renewal, gathering fragments of self that remain in constant motion. What emerges is not a documentation of identity but a staging of its disintegration — a sustained inquiry into how we live through rupture, how we carry wounds, and how photography might bear witness to metamorphosis without resolution. In conversation, Anton Bou invites us to consider the photograph not as a mirror of self but as a trembling threshold, where presence dissolves into light and returns as shiver. “I feel a growing hunger to turn more intentionally toward human subjects — to give more room to slowness, to duration, and to the subtle shifts that occur when an obsession is allowed to unfold over time. Visually, I’m also curious to explore working more without flash — letting natural light and the shadows it carves guide my eyes differently. Concretely, I’m drawn to develop a practice that sits at the intersection of observation and encounter. I’d love to be invited into the homes of strangers, to return, to take my time. And through the mouth of my camera, to feast on whatever captures my attention — whether it belongs to the space itself or to the person who inhabits it.” IN CONVERSATION WITH ANTON BOU TPL: You describe yourself as “self-taught”, yet you also carry the discipline of psychoanalysis. How do these two worlds — photography and psychology — intersect in the way you approach your work? Do you find your photographs reveal things that theory cannot? ANTON: Your question makes me think that the term “self-taught” is quite reductive. It doesn’t account for the cultural influences that, in my case, have prepared me for photography. What it mostly means is that I didn’t go to art school and have no technical training in the field. However, I do have an academic background in clinical psychology with a psychoanalytic approach. My photographic method is actually inspired by the investigative method used in analytic clinical practice: “Say whatever comes to mind, just as it comes, without censoring yourself,” says the psychoanalyst to the patient. This method, known as “free association,” encourages a more dreamlike, intuitive, sometimes fragmented form of speech — and in fortunate moments, a speech that escapes familiar thoughts, those locked in celebreality or caught in consensus. I bring this openness to the instinctual and the unexpected into the early stages of my work. In a way, I tell myself: “Move toward whatever draws your attention and photograph it” — without any predetermined goal or project. Opening one’s attention to the unexpected, to what insists in spite of oneself: this is a psychoanalytic invitation that deeply inspires me. As for comparing my photographs to theoretical texts, I’d say my images are closer to the emotional speech of a patient (who expresses, who trembles, who is moved, without necessarily understanding) than to the theorizing discourse of a psychoanalyst. My photographs attempt to “capture” what has moved me; they present experiences of being seized and try to share them so that others may explore their own sensitivity —whereas theory often seeks to reveal through the thickness of understanding. As I’ve written elsewhere: I photograph, and I do not understand. So yes, I believe my photographs often reveal what theory alone cannot: a trembling moment that is felt, not explained. TPL: You’ve said your camera is “a mouth that devours everything.” Can you take us back to the first time you felt this appetite awaken? Has that appetite changed over time — does it hunger for different things now? ANTON: I imagine a long time — maybe a lifetime? — passed between the first emergence of hunger and the moment I was able to name it in a phrase. That early hunger, I imagine, is the one I carried as an infant — a baby who, at three months old, still longed to nurse even though the breast was no longer available. Revived through photography — or even thought through it — this idea of the camera as a mouth that devours everything came to me while I was obsessively photographing a Mexican village called San Sebastián Xolalpa. There, every morning, hot-air balloons would rise and fall. Goats grazed in open fields, magnificent clouds drifted overhead, vast hedges of cactus lined the roads. Unfinished buildings, concrete walls, fences, shadows, splashes of color...it was all there. And adding to this familiar estrangement, the Airbnb I had rented was a room inside a primary school — a school I was allowed to wander through alone on weekends. During my umpteenth visit, one evening at dusk, I found myself running across the fields to catch a shadow before it disappeared — a shadow I had first noticed on a previous stay and had been haunted by ever since. That was the moment I not only felt the hunger again but finally named it — almost like a mantra. Textures, displaced structures, wide-open spaces, animals, and saturated colors remain within the reach of this hunger. But lately, it has started to shift — toward human subjects. Toward the human being, who may very well resemble the original object of my hunger. And yet, I feel I still need many detours before I can fully direct this hunger toward another person — to address it to them. Who would be willing to let me circle around them for hours, again and again, to observe them from different angles, at varying distances, under shifting light? Or perhaps more to the point: am I ready to show myself as vulnerable — as hungry — in front of someone? These are my anxieties speaking now. TPL: Splitting your life between Montreal, Mexico, and “other elsewheres,” what role does movement and dislocation play in shaping your photographic sensibility? Do you feel more like an insider or an outsider when you’re photographing in each place? I think travel — especially travel defined by repeated returns to the same places — has become part of my creative method. It sustains a kind of destabilization I find necessary. For me, the challenge lies in finding the right tension between estrangement and familiarity. I am both an insider and an outsider. One of my nicknames, in fact, was once el local perdido — the disoriented local, or perhaps: the displaced insider, slightly off balance. For such a gaze to emerge, I need to become familiar with the places I photograph — no matter how far they are from the world I come from. I need to inhabit them as if they were ordinary, everyday spaces. Otherwise, I get caught in a tourist’s gaze — exoticized, disconnected, too stable in my status as a stranger. A German word comes to mind: der Nebenmensch — literally, “the human beside.” I love how this word holds both proximity and alterity, while also preserving a certain openness: “beside” is not a fixed point. And what if that’s the place I try to photograph from? I love when a series weaves together images from a Québécois island, the Sinai desert, and a Mexican city — and you can’t tell where each one was taken. “Beside” is a position that belongs everywhere. In my perspective, I must work both to come closer and to step away — to seek the foreign and to create the familiar. To stand just beside. TPL: Your project It Started as Light… Ended in Shivers… traces the collapse of self. What led you to work with this fragile territory? ANTON: I’ll begin with an image: a house standing on stilts. One day, the fragility of one stilt becomes apparent, and the house collapses. Not entirely perhaps — but a part of it buckles, warps, falls apart. In real life, that fragile stilt took the face of my Ph.D. advisor — and with him, the possibility of completing the thesis I had been working on for many years. That stilt also took the shape of academic success — the structure I had long entrusted with a part of my self-worth. In my first artist bio, I had written — a bit dramatically, in a Sophie Calle kind of way: “Out of the blue, at the moment to submit my thesis, my Ph.D. advisor let me down. What could I do but buy myself a camera, throw myself into the world, and hope for healing through the creation of images?” Pain, exquisitely rendered. TPL: Do you view the project as an ongoing process of transformation, or as a body of work with a distinct beginning and end? ANTON: So far, I see photography as an ongoing process of transformation — a movement driven by different forces and recurring sensations. As for the series titled It Started as Light..., I consider it complete. It has reached its own internal coherence — in rhythm, in color, in theme. It has found its edges, its saturation point. That said, the source it draws from has not dried up. It continues to manifest in different forms, feeding other currents. I think of photographs as complex systems. I see them as zones of confluence — where multiple energetic streams or invisible flows meet and become visible. So, I wouldn’t be surprised to see one or more images from that series reappear in another one — reorganized around different existential concerns, different sensuous forms. TPL: Do you see the photograph as a site of healing, or is it closer to an open wound? ANTON: I see photography — from the moment of capture to the moment of sharing — as a potential site of healing. At least, that’s how I’ve practiced it so far, to a large extent. In my experience, photography allows for the emergence of connections and resonances on many levels: between the mind and the sensing body, between the self and the world, between the invisible and the visible, between images and sensations, between images and other images, between sensations and other sensations... Not to mention the work of language that also gets activated in the process — through captions, statements, or other forms of articulation. That said, I don’t think healing necessarily means closure. Photography sustains a kind of disturbance — raw sensations, lingering traces of the wound — but all of this is held within a structure that also gives pleasure. Let me put it this way: a photograph is a wound edged with imaginary borders — so it can become something else. Why not? I photograph, and I do not understand. TPL: Your images feel nomadic, able to belong to a constellation or stand alone. How do you know when a photograph wants to be solitary, and when it longs for relation? ANTON: I think they all long for relation — but sometimes it takes time to find the right counterpart(s). To me, that’s what nomadism is about: not a refusal of belonging, but a sustained openness to possible resonance. Solitude, in that sense, is not antithetical to connection. It’s simply part of the journey. Series form gradually. Well, at least, that’s how It Started as Light... came together. Or perhaps it’s better to say: to the solitude of images, something gets added — a moment of resonance, suddenly heard. It’s hard to put into words, but suddenly there’s a sense of conviction: “this fits,” “this belongs together.” That’s when something starts to coalesce — not through logic, but through a felt sense of belonging. TPL: Do you work intuitively in the moment, or do you find yourself consciously constructing images to test certain ideas? ANTON: I usually work intuitively, in the moment — drawn by a feeling of attraction toward a scene or a detail. Something calls me, and I seize the opportunity. Later, if the situation allows, I may spend more time constructing the composition or even introducing more intentional staging — either right then, or by returning to the same place and continuing to study it. For example, the opening image of It Started as Light... — the torn gate facing the sea — was taken instinctively, during my very first encounter with that fence at sunset. Still, I returned to that location several times, photographing it from different angles, using natural light and flash. Yet that very first image remains my favorite. By contrast, the photograph of the man lying on the ground resulted from a more elaborate staging process. In that same space, on the carpet, I had previously done a shoot with another model — and afterward, that session sparked ideas for scenes I hadn’t yet realized. I decided to try them with a second model: my father. Initially, I envisioned him nude, but sensing his hesitation, I shifted toward a different kind of styling — an office-worker outfit, more aligned with my dad’s comfort zone. That photo session was, quite literally, the Christmas gift I had asked for that year. TPL: Do you see your work as autobiographical, or do you imagine it as a stage where anyone’s sense of self might enter and fracture? ANTON: Not autobiographical, no. If anything, the word autographical would better describe my approach. I borrow it from the psychoanalyst Jean-Bertrand Pontalis, who used it to describe a kind of writing that, through the act of writing itself, gives rise to a ‘’self’’ - not by recounting a life, but by forming a subjectivity in the act. In other words, my aim is not to tell the story of my life through photography. I don’t use these images to narrate the loss of my thesis advisor, nor do I use them to objectively document the geographical journeys during which they were taken. And I don’t believe that, to connect with my work, viewers need to have lost a thesis advisor themselves or even know the physical location where a given photograph was made. If I have a goal — beyond the immediate pleasure of making images — it is to feel myself into being by visually writing something. To write it from an inner vibration, reawakened through an encounter with a fragment of the world, be it living or inanimate. I hope that this attempt at being might leave enough of a gap for others to feel something too — something that concerns them. TPL: How important is ambiguity in your practice? Do you resist clarity, or is clarity simply not the point? ANTON: I don’t know if I resist clarity. To put it somewhat allegorically, I’d say I mostly fear North Korea — or rather, what North Korea shares with certain aspects of our own Western ways, as societies and as individuals, perhaps less destructively but still disturbingly. The totalitarian tendency. The freezing of ideas. The way things settle into immovable certainty, never to be questioned again. I fear the death that becomes embedded within life. Maybe it’s human — terribly human — to freeze what’s in motion, to seal the void that makes a subject possible. If my work sometimes carries an ambiguous effect — in the photographs, or in the texts — it might be a consequence of my leaning toward openness: openness to multiple possibilities, openness to complexity. It’s also surely a consequence of what, within me, remains untamed. TPL: Are there artists — visual or otherwise — who have helped shape the way you think about photography? Do you see yourself in dialogue with these influences, or resisting them? ANTON: I believe every new photograph — or any new visual or written work — that moves me somehow reshapes both the way I see and the way I understand what it means to photograph. More specifically, I deeply admire the work of Jason Fulford. His images, at once simple and striking, often carry me into that zone of familiar strangeness I’m drawn to — where things quietly creak, where coordinates begin to slip, where the everyday feels ever so slightly askew. My work with my mentor Colin Czerwinski has also been a major source of inspiration: he encouraged me to photograph without preconceived ideas, to trust my gaze, and to let the images themselves generate meaning — through their own force and visual resonance. Beyond photography, several thinkers from psychoanalysis and the humanities silently accompany my process: Roland Barthes, Sigmund Freud, Jean Laplanche, Jean-François Lyotard, Michel de M’Uzan, Cynthia Fleury, Jean-Claude Rolland, Francis Ponge... Even if most of them did not write directly about photography (except Barthes), their reflections on the human psyche and its unconscious depths, on the creative act and its ties to archaic, pre-verbal vitality, resonate deeply with my practice. And the work of Sophie Calle — both performative and intimate — remains a major source of inspiration. TPL: When you’re not behind your camera, what are the other passions or simple enjoyments that shape your days? ANTON: When I’m neither behind the camera nor sitting in a consulting room — as a psychologist or as a patient — there’s a good chance you’ll find me in an indoor cycling class, putting into action what my Instagram handle suggests: spinning to sublime. I also write a lot — fragments, reflections, and sometimes dreams. Writing helps me metabolize the world differently, with words rather than light. Otherwise, I find a lot of comfort and joy in simple evenings with a friend — cooking, laughing, talking. Just being present in those shared moments. Anton Bou’s photographs linger in the in-between, where self dissolves into sensation and images become thresholds rather than mirrors. They remind us that to see is also to be unsettled — to step beside certainty and into the trembling space of becoming. His photography moves beyond documentation, becoming a vessel for feeling. To experience the full breadth of Anton Bou’s vision is to enter this shifting terrain for yourself. See more of their work through the links below. VIEW ANTON'S PORTFOLIO instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

A SENSE OF TIME AND PLACE West Yorkshire photographer Peter Bartlett has a long standing interest in capturing the sense of time and place dating back to the 1970s. A SENSE OF TIME AND PLACE October 30, 2020 INTERVIEW PHOTOGRAPHY Peter Bartlett INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE West Yorkshire photographer Peter Bartlett has a long standing interest in documentary photography dating back to the 1970s. This has evolved into a portfolio that documents everyday life against a backdrop of the ordinary urban landscapes of northern England over the last fifty years. Since his retirement in 2006, Peter has immersed himself in photography, undertaking many different projects, exhibiting his work internationally, gaining several hundred acceptances and receiving numerous awards. In 2010 he was awarded a Licentiate of the Royal Photographic Society (LRPS). A long term project photographing Manchester’s Northern Quarter included a body of work that gained Peter an Associateship of the Royal Photographic Society (ARPS) in 2018. Peter has self-published several books of his work including the titles ‘Shards of West Yorkshire’ volumes one & two, ‘The Northern Quarter’, ‘Various Covered Vehicles’ and ‘Empty Premises’. October 2020 saw the publication of Peter’s 2019 project ‘A Day at the Races’ through ADM Publications. “I was born in Stockport in Greater Manchester and have lived in different parts of the North of England all my life. I now live near Huddersfield in West Yorkshire. My first experience of photography dates back to the age of around ten when I was given a Halina 35x for Christmas. With this camera I learned about exposure and how to process and print black and white films with the help of my father who was a keen amateur photographer.” IN CONVERSATION WITH PETER BARTLETT THE PICTORIAL LIST: Peter, you told us that your interest in documentary photography dates back to the 1970s. Could you tell us more about that? PETER BARTLETT: As a hobby photographer, most of my images were ‘one-offs’ as opposed to parts of themed sets, but throughout the 70s and 80s I was always fascinated by the work of leading photojournalists and looking back at old prints and images I can see the influence these photographers had on my work. After a break from photography in the 90s I bought my first DSLR in 2003 - initially my images were fairly eclectic but I was drawn to street photography, making a conscious commitment to that genre around 2010. In recent years this has evolved into themed projects, many of which have become self-published books on the Blurb platform. TPL: Where do you find your inspiration to photograph? PB: I'm an inveterate people watcher, so wherever I go, whether I have a camera with me or not I watch, observe and see potential images - not only people but also the urban landscape around them. I guess my inspiration is everyday life. TPL: You did not grow up in an Internet-based age. (None of our team did either.) How do you feel about the various social media photo platforms that have made sharing photography with a large audience so easy? What advantages and disadvantages do you see in this? PB: I have used Flickr for many years and more recently Facebook and Instagram. Each platform provides a means of sharing my images and perhaps more importantly viewing the work of others. Sadly Flickr is a shadow of what it was and I have never really been comfortable with Facebook. When I signed up to Instagram just over two years ago, I was sceptical, but the platform won me over quickly and opened up a number of wider opportunities including contribution to an online exhibition during lockdown, the publication of ‘A Day at the Races’ and of course, this feature. So, mainly positive although I do have concerns about some of my images being lifted and used by others without permission. But, I guess that’s one of the risks of online life. TPL: In general, what do you want to express through your photography? And what are some of the elements you always try to include in your photographs? PB: Now, most of my photography is project based, each image is part of a larger piece of work. Depending on the project, I guess my principal objective is to capture a sense of time and place. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PB: My serious interest in photography evolved during the 1970s and I recall enjoying the early work of Martin Parr along with Chris Killip, Chris Steele-Perkins, Tony Ray-Jones and Homer Sykes. In the late 1970s I was hugely impressed by a major Cartier Bresson exhibition at the V&A Museum in London. Shortly after that I bought a copy of Ian Berry’s book ‘The English’, which I browse now. I’m sure much of this will have stayed with me. I'm an inveterate people watcher, so wherever I go, whether I have a camera with me or not I watch, observe and see potential images - not only people but also the urban landscape around them. 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? PB: Initially I used a DSLR for street photography, usually with a prime lens. Ten years ago, I moved to the micro four thirds system. I’ve had several Olympus bodies and currently use a Pen F with small prime lenses (usually 28mm, 34mm, and 50mm full frame equivalent). I do have other lenses including zooms but use these much less. I also use the Ricoh GR range (currently a GRiii) with its fixed 28mm equivalent focal length. The move to a more compact kit enabled me to capture images that would have been impossible with a larger camera. TPL: Your photos show people in your home country, the UK. Do you have a favourite place to photograph in? PB: As a student I studied the Industrial Revolution and have always been fascinated by the remnants of those times in the Northern post-industrial communities, where I have lived all my life. So, I love to make images against the backdrop of post-industrial landscapes in the communities across the North of England. TPL: When you go out on the streets, 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? PB: Yes and no. I usually work on several projects at a time. Typically, I’ll have a specific project in mind when I go out to photograph, but I’m constantly on the lookout for images that will fit within other projects, as well as subjects that may be the inspiration for a new project. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? PB: When I moved to a project based approach I hoped that I might create a body of work that captures something of the lives, times and activities of ordinary people in the part of the UK where I live. It will, perhaps, be for others to decide whether I achieve that objective. Five years seems a long time! The impact of Covid-19 has been significant for me. I’m over 70 years of age and during the spring lockdown I took stock and recognised that the world has changed and things are not likely to return to the way they were. I have no desire to shoot images of people in masks, nor do I think that at my age it will be wise to spend time in busy places shooting street images with a wide angle lens. So I anticipate that my work will focus on urban and post-industrial landscape along with images of quirky subjects that catch my eye. That said, I’m sure that a fair number of images will continue to include people! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PB: The images that illustrate this interview are from my project 'Shards of West Yorkshire'. In 2016 I embarked upon this long term street photography project hoping to capture something of the essence of the post-industrial communities of West Yorkshire. My plan had been to continue shooting until the end of 2020 and self-publish five books, each of around 65 images. The intervention of Covid-19 in March brought an early conclusion to the planned shoots. Two books have been published (Vol.1 & Vol.2). I am currently working on Vol.3 and expect to publish this in the New Year. I do have sufficient images for a fourth book, whether there is enough material for a fifth book is something I’ll consider after Vol.4 is published in late 2021. TPL: "When I am not out photographing, I (like to)… PB: Listen to music (jazz and classical) and spend time with my family." Peter Bartlett's long-standing interest in documentary photography has resulted in a unique and interesting portfolio which documents everyday life against a backdrop of the ordinary urban landscapes of northern England. Peter's most recent projects have further enriched his portfolio, allowing us to delve deeper into his creative and thought-provoking work. To view more of his projects and learn more about his work, use the links below. VIEW PETER'S PORTFOLIO Read "A DAY AT THE RACES" by Peter Peter's website >>> Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.