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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

Be inspired by the photographers on the 2025 List. 2025 PHOTOGRAPHERS © Stephanie Duprie Routh ABDULLA SHINOSE CK Malabar INDIA ALEJANDRO DAVILA Pachuca MEXICO ANTON BOU Montreal CANADA AYANAVA SIL Kolkata INDIA BETTY GOH SINGAPORE BUKU SARKAR Paris FRANCE CYNTHIA KARALLA New York UNITED STATES DAVID GRAY New York UNITED STATES EVA MALLIS New York UNITED STATES FANJA HUBERS Utrecht THE NETHERLANDS FUTURE HACKNEY London UNITED KINGDOM GIORDANO SIMONCINI Rome ITALY GUILLERMO FRANCO Córdoba ARGENTINA HIROYUKI ITO New York UNITED STATES JAY HSU Yilan City TAIWAN KAT PUCHOWSKA Barcelona SPAIN LAETITIA HEISLER Berlin GERMANY LUISA MONTAGNA Parma ITALY MASSIMO LUPIDI ITALY MATTEO BERGAMI Bologna ITALY MEERA NERURKAR Düsseldorf GERMANY NASOS KARABELAS Greece ATHENS NICOLA CAPPELLARI Vicenza ITALY PARISA AZADI IRAN & DUBAI PARVATHI KUMAR New Jersey UNITED STATES

Be inspired by the photographers on the 2020 List. 2020 PHOTOGRAPHERS © Abbie Briggs ABBIE BRIGGS Madison UNITED STATES 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 Manhattan UNITED STATES ALEXEY STRECHEN Moscow RUSSIA ALICIA HABER Montevideo URAGUAY ANEEKA MANKU Birmingham UNITED KINGDOM ANGEL CARNICER Zaragoza SPAIN ANNA MARCHIOLI Clamart FRANCE ANNETTE LANG Nice FRANCE ANTONIS GIAKOUMAKIS Athens GREECE ANWAR SADAT Nairobi KENYA ARTURO CAÑEDO Lima PERU ASHISH PATEL Delhi INDIA ASSIA STARKE Vienna AUSTRIA ASTRID NEUNDLINGER Vienna AUSTRIA B JANE LEVINE New York City UNITED STATES BELINDA CORNEY London UNITED KINGDOM BENNY VAN DEN BULKE Adegem BELGIUM

Be inspired by the photographers on the 2021 List. 2021 PHOTOGRAPHERS © Meryl Meisler AGATA LO MONACO Gela 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 Austin UNITED STATES CARLA HENOUD Beirut LEBANON CAROL DRONSFIELD Brooklyn UNITED STATES CHICHEK BAYRAMLY Baku AZERBAIJAN CHRISTINA SIMONS Melbourne AUSTRALIA DAMIEN GORET Brest FRANCE DANIEL GOLDENBERG Buenos Aires ARGENTINA DANIELA PEREIRA Montevideo URUGUAY DANNY JACKSON Essex UNITED KINGDOM DAVID KUGELMAS New Jersey UNITED STATES DAVID LAWLESS Winnipeg CANADA DAVID SHORTLAND London UNITED KINGDOM DREW KELLEY California UNITED STATES EDUARDO ORTIZ Valparaiso CHILE

WHERE LIFE LEADS During a trip to Croatia, Mattia Bullo explored the contradictions of a country split between its international image and its traditions. WHERE LIFE LEADS November 19, 2021 INTERVIEW PHOTOGRAPHY Mattia Bullo INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Croatia is a country of great contrasts. It is a land of captivating beauty, blessed with stunning coastlines, majestic mountains, and a rich cultural heritage. But it's also a country that is in the process of transforming its international image to EU standards in the hopes that it will gain admittance to the Union. It's this fascinating contradictions between past and present that Italian street photographer Mattia Bullo sought to explore in an ambitious camping trip through Croatia's most iconic destinations. Using a unique approach to his craft, Mattia looked to capture the chaotic energy of centuries of Balkan traditions while also conveying the evident desire for modernity. Shooting close and imposing his presence on his subjects, he waited to see what evolved, all whilst maintaining a humoristic look. He was determined to cause a reaction in his subjects rather than just being a passive witness of a scene. In this series, Mattia takes us on an adventure through Croatia, exploring the fascinating intersection of modernity and tradition. From dazzling vistas of serene beaches to intimate portraits of the people of Croatia, Mattia both captures and celebrates the country's complex and multifaceted identity. “This series is a documentary series of Croatia. I am very tied to the Balkans, half of my family is Slovenian. I spent three years of my childhood in Skopje, Macedonia. I grew up watching Emir Kusturica’s films. I am deeply in love with these beautiful countries and their amazing people: such a unique mixture of Slavic, Turkish, Greek and Roman cultures and languages. However, when I see how these countries are portrayed internationally, I often find that there is so much attention to where they come from and very little to where they are trying to go. This series, which is very likely over, was shot with one question in mind: what comes next for this country?” IN CONVERSATION WITH MATTIA BULLO THE PICTORIAL LIST: Mattia please tell us about yourself. How did you become interested in photography? MATTIA BULLO: I was born in Udine, Italy, and I currently live here as well. As a child I’ve lived in numerous places around Europe such as Berlin, Skopje and Venice. I initially started studying photography through cinema, where I always saw light behave in such interesting, variable and unexpected ways, often being not only a legitimate character but the protagonist of a scene. My interest for the phenomenon kept growing up to the point where I eventually had to start experimenting on my own. Slowly, ideas began to grow, knowledge started to pile up and I learned to love the photographic practice. Also, the book “Creative Photography” by legendary Italian photographer Franco Fontana really helped me find my way into photography as a beginner, suggesting very fun and effective exercises that I quickly became passionate about. TPL: What does street photography mean to you? Describe your style. Where or how do you find inspiration? MB: At this point, street photography has become necessary to me and to my well-being. It acts as medicine against sloth and apathy. It is a constant reminder that the world is such an amazing place if you know where to look. My personal style evolves around high contrast black and white photography, in which I like to introduce humorous and sometimes surreal elements. I like to photograph in a very proactive way, often hunting for subjects and scenes. When I see a picture I immediately start running towards it. As far as inspiration goes, I really don’t enjoy waiting around for it to magically strike me, often times I simply start taking the pictures with a very clear idea in mind, which serves as foundation, slowly letting the streets guide me wherever they want. I’m very careful for anything that might surprise me. I have always thought that inspiration only arrives once you are very, very deep into the work. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? MB: There have been many amazing moments: hilarious conversations with hilarious people; playing with strangers through the camera, both adults and children; exploring the wildlife of the mediterranean shore; swimming in the darkest waters under the full moon and waking up to the noise of squirrels playing on the trees above me. However, at the end of the day, doing photography is what has driven me to this adventure and what I have enjoyed the most about it. Hopefully photography will drive me to many more amazing places in the future. TPL: What are some tips or advice you would give yourself if you started street photography all over again? MB: My personal opinion is that to improve in photography the only way is to actually take the pictures, as many as necessary. Thus, my first advice would simply be to take more pictures. Taking a look at great photographers helps very much as well: studying their photographs, reading their books. There is also tons of instructional material on the internet: interviews, lectures, conferences, etc... Something useful that I would tell myself would be to start making use of this stuff as early and as much as possible. In other words: study, study, study. TPL: When you are out photographing - how much of it is instinctual versus planned? MB: In general, my work method is the following: I plan everything about the photos with precision, I schedule where, when and how I will photograph, sometimes I will force myself to adopting some limitations as an exercise, and I always decide it in advance. However, I never decide in advance what to photograph for the following reason: while I study photography, I use photography to study myself. It is always very fascinating for me to scroll through the pictures that I have taken and try to figure out why I chose a certain subject and a certain angle, and it teaches me about myself arguably more than anything. At this point, street photography has become necessary to me and to my well-being. It acts as medicine against sloth and apathy. It is a constant reminder that the world is such an amazing place if you know where to look. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MB: Franco Fontana’s book about creative photography is what got me introduced to this subject, also his photographs played a major role in my artistic education, even though he is technically considered a landscape photographer. Bruce Gilden is another big influence on me, his unscrupulous methods in particular, even though he appears to often be criticised for them. Dating further back in time, WeeGee is another photographer whose work really strikes me to this day. Referring to other artists unrelated to photography, if I had to pick the ones that have been most influential on my personal education, they probably would be contemporary japanese novelist Murakami Haruki and, obviously, J.R.R. Tolkien. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? MB: I carry a Canon EOS M10, lovely lightweight camera. In general, I prefer wider angles such as the 22mm. According to the situation, I sometimes might switch to the 50mm to do geometry, but I never go higher than that. In reality, a wide angle lens is probably the only thing that is necessary for my photography. After all, what really matters to me is the content of the photograph more than the technical details around it. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MB: Within five years it would be amazing to make a living out of photography. I also will most certainly attempt to make my way into the film industry, at one point. If I ever get the chance to be a D.O.P for a feature film, that would be a dream come true for me. In the meantime, my attention will be directed to simply be a better photographer. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MB: What I’m working on right now is to improve as a photographer, as I said above. I do this by adopting certain environmental and technical limitations to further help give definition and a clear direction to my photographic genre. I have plenty of ideas regarding possible projects, nothing decided yet though. I plan to see where I will be at in around three/four months and will proceed from there. TPL: When I am not out photographing, I (like to)... MB: I like doing sports, mostly skateboarding and free climbing. Literature is also very important to me: I spend a lot of time reading, novels mainly, sometimes essays, anything at my disposal; if somebody wanted to harm me they should just take my E-reader away and the job would be done. I often listen to music as well. I am always greedy for new music, which is a mindset that I often encourage other people to adopt. You will never know what you might find until you will have found it; therefore, you have to look for it. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

PICTORIAL STORY UNVEILING VULNERABILITY In a world where masculinity is often tied to stoicism and strength, we’re invited by Francesca Tiboni to reconsider those norms and acknowledge the full depth of male emotion. March 22, 2024 PICTORIAL STORY photography FRANCESCA TIBONI story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The Pictorial List enjoys watching our artists in our community grow and like proud parents we take pride in their successes and celebrate their achievements. We have had the distinct pleasure watching Francesca Tiboni’s journey over the years behind the lens be nothing less than inspirational for photographers of all genders, nationalities globally. Francesca began her journey through the lens at a tender age of eight, a gift inherited from her father that she has cherished ever since. For almost two decades, she has called Cagliari, the vibrant capital city of Sardinia, her home — a place where the modern bustle intertwines with ancient history dating back thousands of years. Beneath the city’s contemporary facades lie the remnants of civilizations stretching from the Neolithic era to the present day, a rich tapestry of culture and heritage that fuels Francesca’s artistic vision. Self-taught and introspective, Francesca has embarked on a photographic odyssey as a deeply personal exploration — a means to unravel the complexities of the world around her while delving into the depths of her own emotions. Her explorations and discoveries have allowed her to bridge cultural divides translating the intricacies of human experience across diverse landscapes. Over the years, Francesca’s passion for photography has flourished, despite the challenges of balancing it with the responsibilities of a full-time job and motherhood. Her lens has traversed the margins of society, capturing the subtle beauty of urban peripheries in projects like The Silences Where We See and delving into the poignant transition to adulthood in Something about the Future . From the raw authenticity of street portraiture, Francesca ventured into uncharted territories, exploring the male form with a newfound perspective. Her artistic evolution took her to the streets of Istanbul, where she not only served as a judge at the renowned Street Photo Festival but also conducted workshops on Street Photography as a Journey of Self-Discovery , nurturing young talents along the way. It was in Istanbul that Francesca found a kindred spirit in fellow photographer Barbara Di Maio, sparking a shared vision to amplify the voices of Italian female street photographers. This shared passion culminated in the formation of Women in Street Italy , the first collective of its kind, dedicated to empowering and showcasing the talent of women in the street photography scene. Through her visual storytelling and collaborative endeavors, Francesca Tiboni continues to weave narratives of beauty, authenticity, and empowerment, capturing fleeting moments that resonate across cultures and generations. In a world where societal norms often dictate that men must suppress their emotions, Boys Don’t Cry emerges as a poignant exploration of male vulnerability. Conceived by photographer Francesca Tiboni, this project delves into the depths of masculinity, challenging conventional perceptions and inviting viewers to confront the complexities of the male emotional experience. The genesis of Boys Don’t Cry lies in a series of serendipitous encounters on the streets — a chance meeting with men who, despite societal expectations, were willing to bare their souls before the lens. Through intimate conversations, these men shared deeply personal stories, often shedding tears in the process. This raw display of emotion sparked a profound reflection on the societal pressures that compel men to conceal their vulnerabilities, even from themselves. “Why does a man have to stand in front of a stranger to give space to his emotions?” This fundamental question serves as the guiding light of the project, prompting a critical examination of the evolving role of men in contemporary society. Over the past five decades, traditional notions of masculinity have undergone a seismic shift, yet the stigma surrounding male vulnerability persists. Central to Boys Don’t Cry is the exploration of the male body as a canvas for emotional expression. Through a careful juxtaposition of physical strength and inner fragility, Francesca seeks to capture the inherent contradictions within masculinity. The muscular and bony structures of the body serve as visual narratives, conveying a profound sense of vulnerability beneath the surface. Francesca shares a few questions that inspired this project. “Is there a trace of this vulnerability in the man who exposes himself? Does the muscular and bony structure of the body tell a story? The exploration of the male body grew out of research that sought to capture the contrast between physical strength and fragility expressed through movement and looks.” The project unfolds in two distinct phases. Initially Francesca works with models who embody the themes distilled from street conversations, using their physicality to convey emotional depth. However, as the project evolves, men begin to approach Francesca, drawn to the project by a resonance with their own experiences. In this latter phase, creativity intertwines with personal narrative, resulting in deeply intimate and therapeutic photo sessions that transcend mere imagery. For Francesca, Boys Don’t Cry is not just an artistic endeavor but also a journey of personal discovery. Each photograph serves as a self-portrait, reflecting her own story and struggles with vulnerability. Through the faces, gestures, and bodies of her subjects, Francesca unwittingly tells her own tale, inviting viewers to embark on a journey of introspection and self-awareness. In a cultural context where discussions of male emotionality often veer towards negative stereotypes, this insightful investigation offers a refreshing perspective. By celebrating the courage to confront vulnerability, Francesca’s work challenges societal norms and fosters a deeper understanding of the male psyche. In doing so, it paves the way for healing and transformation, encouraging men to embrace their emotional truths without shame or inhibition. Boys Don’t Cry is more than just a photography project — it is a testament to the resilience and humanity of the male experience. Through its intimate portrayal of emotion, it urges us to reconsider our preconceived notions of masculinity and embrace a more compassionate understanding of ourselves and others. © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni © Francesca Tiboni As we conclude our exploration of Boys Don’t Cry , we find ourselves deeply moved by Francesca Tiboni’s powerful journey into the heart of male vulnerability. Through her visual stories, she not only captures fleeting moments of emotion but also confronts the societal norms that have long dictated how men should express themselves. In a world where masculinity is often synonymous with stoicism and strength, Boys Don’t Cry serves as a poignant reminder that vulnerability is not a sign of weakness but of profound courage. This project challenges us to reevaluate our perceptions of masculinity, inviting us to embrace the complexity of the male emotional experience. From the streets of Cagliari to the workshops of Istanbul, Francesca’s journey has been one of introspection and discovery. Through her photography, she not only tells the stories of others but also finds echoes of her own struggles and triumphs. In doing so, she creates a space for empathy and understanding, transcending cultural divides and societal expectations. As we reflect, we are reminded of the power of art to provoke thought, spark conversation, and inspire change. Francesca’s work is a testament to the transformative potential of photography, offering a glimpse into the depths of the human soul and challenging us to embrace our shared humanity. In the end, Boys Don’t Cry is more than just a photography project — it is a call to action, a plea for authenticity, and a celebration of the courage to be vulnerable. Francesca Tiboni invites us to peel back the layers of societal conditioning and embrace the full spectrum of human emotion. It is a journey that invites us to listen, to learn, and ultimately, to evolve. view Francesca's portfolio View Francesca's project "Something About The Future" >>> Read an interview with Francesca >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

These photos were taken in London during 1964. I was working as an assistant at Woburn Studios Ltd. These pictures are the result of walking the streets in the weekends. CARL LINDHE These photos were taken in London during 1964. I was working as an assistant at Woburn Studios Ltd. These pictures are the result of walking the streets in the weekends. LOCATION Stockholm SWEDEN CAMERA/S Nikon, Hasselblad @CARLLINDHEPHOTOS FEATURES // London Calling

Street photography has been a refreshing hobby for me. I am a passionate amateur and love going out and taking photos. Street photography for me is living in the moment and capturing the mundane. I feel that daily life, although boring to people who live it, makes for very interesting photographs. My drive is to constantly improve my photography and become better at it. VAJRADHAR ACHARYA Street photography has been a refreshing hobby for me. I am a passionate amateur and love going out and taking photos. Street photography for me is living in the moment and capturing the mundane. I feel that daily life, although boring to people who live it, makes for very interesting photographs. My drive is to constantly improve my photography and become better at it. LOCATION INDIA CAMERA/S Nikon D5200 @PROBING_REALITY FEATURES // Everyday Explorations

MY VISUAL DIARY Using photography as his visual diary, Luca Strippoli conveys his emotional participation through the subject and composition in his photographs. MY VISUAL DIARY June 7, 2020 INTERVIEW PHOTOGRAPHY Luca Strippoli INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Discover the captivating work of Luca Strippoli, an award-winning Italian street photographer whose passionate improvisations capture the emotion of his subjects and ignite the imagination. His stunning black and white photos embody a visual diary of his feelings, yet his remarkable talent transcends beyond the boundaries of monochrome imagery - his vivid, thought-provoking colour compositions evoke a sense of creativity, daring us to look beyond the literal and embrace the unexpected. Luca's remarkable talent challenges us to be bold and decisive with our camera shutter and to explore new, exciting perspectives. “I like to define myself a passionate improviser. Photography is, from my point of view, a kind of diary, I talk of myself through others.” IN CONVERSATION WITH LUCA STRIPPOLI THE PICTORIAL LIST: Luca, when did you start getting interested in photography? LUCA STRIPPOLI: I’ve studied graphics when I was younger and I have always been fascinated by art and images. TPL: Where do you find your inspiration? LS: Wandering in the streets, visiting a museum, listening to music…in my opinion inspiration can come from different situations...it can be an unusual light beam, a detail, an interesting backlight or trivially a street scene I must portray. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? LS: I try to take pictures my way, with all the limits. Photographing is like writing for a writer, you can use a typewriter, a word processor, a pencil…but what counts the most are the words. However, between my favorite photographers my beloved ones are Mario Giacomelli, for his landscapes and people; Elliott Erwitt, storyteller of meaningful little stories; Sebastiao Salgado, with his amazing frames and; finally Henri Cartier-Bresson, a photography aesthete. TPL: Has your style of shooting changed since you first started? LS: Absolutely. I’ve understood that photography was becoming more and more part of my life when I introduced people in my photos. I was then aware of my emotional participation in everything included in the composition of the picture. TPL: Where is your favourite place to shoot? LS: I like wandering without a destination. It’s the first symptom of a disease called photography…I stray in the city just to catch little stories, fragments of life that ordinary life gives to me. I don’t know the subjects but in that moment they become unconsciously my models. Photographing is like writing for a writer, you can use a typewriter, a word processor, a pencil…but what counts the most are the words. TPL: What characteristics do you think you need to become a 'good' photographer? What’s your tips or advice for someone in your genre? LS: The continuous bombing of photos we are getting used to on social media, without an adequate visual education that can provide the right tools to correctly evaluate an image, can now destabilize how we judge a shot. Therefore, to emerge now as a photographer has become even harder, but I like thinking there is still a place where talented people sooner or later will be valued and acknowledged for their work. TPL: Have you ever been involved in the arts before photography? LS: No TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? LS: The equipment I am using right now is the smartphone but in the past I have used several kinds of equipment. Nowadays, I need something to catch the moment immediately and here the smartphone comes into play because you always have it in your pocket...simple to use and fast to catch the best timing in a specific moment. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LS: I have just started a project about photo composition, many photos balanced to create a singular one. TPL: "If I wasn't photographing what would I be doing?... LS: I would come back to paint." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

THE STUDY OF LIFE Through her photography, Jo Kalinowski has allowed herself to discover an emotion or thought that has connected her past to her present. THE STUDY OF LIFE June 12, 2020 INTERVIEW PHOTOGRAPHY Jo Kalinowski INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For Australian photographer Jo Kalinowski, her photographs are a process of understanding parts of her life that have been defined by living or existing in different places. Isolated feelings and experiences that do not necessarily need to be attached to a particular place or location. By creating compositions of everyday things and the study of human life through her images, Jo has allowed herself to discover an emotion or thought that has connected her past to her present. Jo has fused her worlds together, subconsciously disconnecting fragments of time. “I was surrounded by art and photography from a young age, though my own personal journey as a photographer began only four years ago.” IN CONVERSATION WITH JO KALINOWSKI THE PICTORIAL LIST: Jo, where do you find your inspiration to photograph? JO KALINOWSKI: I find my inspiration all around me. I am inspired emotionally and visually from everyday scenes, music, interactions. I am inspired by light, shadow, color and forms, finding the beauty in the most ordinary. Connecting with fellow photographers all over the world has been hugely inspiring. A strong visual literacy has continued to build through relationships with these photographers whose practices vary in content and technique. TPL: Your images share a feeling of intimacy. How do you manage to achieve this so consistently? JK: Gosh that's a hard one! I aim to create scenes around the concept I am investigating. The intimacy comes from the need to express ideas with a creative approach to getting at something deeper than our common notions of family photographs. TPL: Do you have a favourite place(s) to go photograph? JK: I love the challenge of shooting in different environments. It is how I have learnt different skills. I honestly don’t have a favourite place to shoot. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? JK: Artists such as Rothko, Jeffrey Smart and Matisse are just a few that have inspired me greatly. Photographers such as Martin Parr known for his photographic projects that take an intimate and gentle satirical take on people and their cultures. Nan Goldin, known for her deeply personal and candid portraiture, Sam Abell, and the list goes on... TPL: Has your style of photographing changed since you first started? JK: My style of photographing has most definitely changed. When I first began this journey a few years ago I created minimal and urban images, finding that beauty in the mundane. These days I am drawn to documentary photography. Creating scenes around a concept I am investigating, capturing candid moments that tell a story, preferably triggering the viewers mind to see something beyond the image itself. My style is constantly evolving. I am inspired by light, shadow, color and forms, finding the beauty in the most ordinary. TPL: What characteristics are needed to become a 'good' photographer? JK: Imagination, curiosity and a creative mind. TPL: You told us that you once were a hair stylist and an artistic director for 15 years involved in shows and magazine work. Do you think that influenced your focus on details that is evident in your photography? JK: Hairdressing was definitely my first creative journey and one that certainly sparked my eye for fine details. More recently I have been influenced through my own personal photographic journey creating minimalist style fine art photography. Connecting with fellow photographers all over the world has been a real joy. A strong visual literacy has continued to build through relationships with these photographers whose practices vary in content and technique. TPL: Do you think equipment is important in achieving your photographic vision? What would you say to someone just starting out? JK: I use a Canon 6D with a 50mm lens or my new favourite 28mm lens. I use a Canon Speedlite 430EX 111 flash when I want to add a sense of dramatic lighting making the photo seem more theatrical. To someone starting out I would say the camera does not make the photographer! TPL: Are there any special projects you are currently working on? JK: At present I am working on an ongoing project connected to my work in a residential aged care facility. Capturing still life moments, I aim share aspects of lives of residents through images of their personal treasures, to share the beauty and the riches or their unnoticed worlds. TPL: "If I wasn't photographing what would I be doing?... JK: When not photographing I am working; a mother of two teenage girls and being a wife!" PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

THE GESSLER PERSPECTIVE In his street photography, Jan employs high angles and low perspectives to create his distinctive style. THE GESSLER PERSPECTIVE February 25, 2020 INTERVIEW PHOTOGRAPHY Jan Gessler INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Jan Gessler, the multi-talented photographer, acrobat, juggler, communications scientist, videographer, film director, and father of two. For the past twenty-seven years, Jan has been steadfastly pursuing his passion for photography and videography, developing a unique talent for capturing intriguing perspectives and angles. From a young age, Jan had a knack for the creative arts and a special affinity for the darkroom. At twelve years old, he began working with his mother in the darkroom and since then has never looked back. Nowadays, Jan is able to pay his rent through the commercial video productions he creates with his own company Look-Zoom Film Production in Berlin. But that’s not all — Jan also has a very special hobby which he has been devoted to since the late nineties: street photography. His favorite equipment? Super wide angle lenses. With them, Jan walks the streets of Berlin in search of stories to tell and justice to document. Jan’s works, which are heavily influenced by his love of street photography and wide angle lenses, are both fascinating and inspiring. It’s clear that Jan knows how to find the beauty in life and he is always looking for new perspectives and angles. Come and learn what Jan Gessler has to offer. “In 1993 I was helping my mom in her photo lab. When I moved the enlarger I understood that the impression of the photo changes by the frame. That changed my perspective on cameras. Fortunately I could use my parents' cameras. Five years later I could make my first photo publication in a newspaper. This was a photo of a friend doing 'salto' (motion blur with long exposure).” IN CONVERSATION WITH JAN GESSLER THE PICTORIAL LIST: Jan please tell us where do you find your inspiration? JAN GESSLER: I see street photography itself as an inspiration. Especially the editing process. Looking at an individual frame by frame trained my eyes. I think if you are listening carefully and kindly everybody has a story to tell you. TPL: Has your style of photographing changed since you first started out? JG: I am faster. I got closer to people during the years. Social injustice in modern times is often a topic in my work. But I have tried to look on the more hopeful side of photography for some time. But sometimes I do the same shot I did 20 years ago because it feels good. My pool of possible shots is growing. I started with black and white negative. For a while I liked color slides a lot. Since 2008 I have been using mostly digital cameras and I prefer black and white again. I still have the darkroom but I prefer lightroom. TPL: Do you have a favourite place/s to photograph? JG: Istanbul. Also Berlin, Budapest, Barcelona, Bangkok and New York. TPL: Do you have any favourite artists you would like to share with us? JG: Ara Güler, Orson Welles, Fan Ho, Roger Deakins, René Maltête, Erwitt Elliott and Henri Cartier-Bresson on photography. Michael Ende, Paul Watzlawick, Douglas Adams, Monty Python and Volker Pispers influenced my worldview. Nearly two decades ago I worked for two years as a camera operator with Director of Photography Aturo D. Smith who likes to share his skills. He is known for his music video clips with the Beastie Boys, Marilyn Manson and several commercials and awarded feature films. His courage to find new perspectives and camera gear for each job has inspired me. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? JG: Gear is not so important at least when you are starting out. Get a second hand 24mp full frame DSLR Canon or Nikon, a standard lens 50mm and a 28 or 24mm. Prime lenses, not the best quality but no kit zoom. Camera and two lenses are about 800-1200 EUR. If you have less budget go for an apsc or older ff camera and maybe old manual russian photo lenses. I prefer the optical viewfinder in DSLR cameras but a mirrorless camera can do as well. I took some shots with 12MP and smaller cameras and I still love the pictures. I told all my trainees and students to take as many photos as possible instead of learning more theory than they can digest. But for those who look for input I am sure the grammar of film language is helpful to tell a story in still photography as well. Even if you are not planning to become a videographer take a look at “Shot by Shot” by Steven D. Katz or the books by Christopher Kenworthy and try to tell stories just by framing a person. You will be surprised how easily you can precise the impact of your idea with a change of angle, position and focal length rather than buying the latest camera model. I think if you are listening carefully and kindly everybody has a story to tell you. TPL: What characteristics do you think you need to become a better photographer? What would you advise someone starting in street photography? JG: Recipes only work until a certain degree and can help you to find out which style(s) you like. Be kind and respectful! Wear a proper shirt! TPL: Have you ever been involved in the artistic world before photography? JG: I had worked as a juggler for five years and went to acting and acrobatic school. As a VJ, I created art video installation on about 100 big concerts. I work as a director in documentaries, music videos and commercials. I work as a videographer. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JG: My book WONDERLAND. TPL: "If I wasn’t photographing what would I be doing?... JG: I am a father of two daughters, a four month old and three year old. Besides that I run a small company producing Web and TV commercials." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I’m a Canadian visual journalist and storyteller based between Tehran and Dubai, working across the Middle East, South Asia, Africa, and Canada. My work explores themes of history, conflict, memory, and displacement, often focusing on communities living in the aftermath of political violence. Since 2015, I’ve covered issues such as the Syrian refugee crisis in Jordan, missing and murdered Indigenous women in Canada, FGM in Uganda, and religious extremism in South Asia. I’m HEFAT certified (VICE Media/Control Risk) and bilingual in English and Persian. In 2023, I was named one of the British Journal of Photography’s 'Ones to Watch' and awarded the Magnum Foundation Mobility Grant. My work has been recognized by World Press Photo, the Chris Hondros Fund, Women Photograph, and others, and published by outlets including The New York Times, The Guardian, Vogue, and Associated Press. I’m available for commissions and assignments worldwide. PARISA AZADI I’m a Canadian visual journalist and storyteller based between Tehran and Dubai, working across the Middle East, South Asia, Africa, and Canada. My work explores themes of history, conflict, memory, and displacement, often focusing on communities living in the aftermath of political violence. Since 2015, I’ve covered issues such as the Syrian refugee crisis in Jordan, missing and murdered Indigenous women in Canada, FGM in Uganda, and religious extremism in South Asia. I’m HEFAT certified (VICE Media/Control Risk) and bilingual in English and Persian. In 2023, I was named one of the British Journal of Photography’s 'Ones to Watch' and awarded the Magnum Foundation Mobility Grant. My work has been recognized by World Press Photo, the Chris Hondros Fund, Women Photograph, and others, and published by outlets including The New York Times, The Guardian, Vogue, and Associated Press. I’m available for commissions and assignments worldwide. LOCATION IRAN & DUBAI CAMERA/S Canon 6D WEBSITE https://www.parisaphotography.com/ @PARISA_IMAGES FEATURES // Ordinary Grief