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Gianluca Mortarotti is a self-taught photographer based in London, UK. The roots of his interest in photography lie in his father's work, from developing films in the darkroom at a very young age to wedding photography works, which introduced him at first to the world of photography. After his architecture and building engineering studies, the photographer focused on life in cities by capturing candid moments and exploring urban contrasts and the oddity of human connections. ​With his work, he attempts to speak through images about contemporary social issues and comment on social reality without turning down the intriguing presentation of street scenes or the impressive appearance of images. His persona behind the camera brings out his life philosophy of looking for the exceptional in the ordinary and trying to make it visible through a fresh and unexpected approach, consistent and attractive aesthetic, and a narrative and metaphorical meaning of the images. ​In 2021 his work was selected among the winning images of the Life Framer competition (World Travelers category). He also self-published his first book “LSD – Lockdown Street Diary” in 2021, a collection of street photographs that showcases fragments of life before, during, and after the lockdown in London capturing the complexities of everyday life in this unprecedented time. GIANLUCA MORTAROTTI Gianluca Mortarotti is a self-taught photographer based in London, UK. The roots of his interest in photography lie in his father's work, from developing films in the darkroom at a very young age to wedding photography works, which introduced him at first to the world of photography. After his architecture and building engineering studies, the photographer focused on life in cities by capturing candid moments and exploring urban contrasts and the oddity of human connections. With his work, he attempts to speak through images about contemporary social issues and comment on social reality without turning down the intriguing presentation of street scenes or the impressive appearance of images. His persona behind the camera brings out his life philosophy of looking for the exceptional in the ordinary and trying to make it visible through a fresh and unexpected approach, consistent and attractive aesthetic, and a narrative and metaphorical meaning of the images. In 2021 his work was selected among the winning images of the Life Framer competition (World Travelers category). He also self-published his first book “LSD – Lockdown Street Diary” in 2021, a collection of street photographs that showcases fragments of life before, during, and after the lockdown in London capturing the complexities of everyday life in this unprecedented time. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm X-S10 WEBSITE https://www.inframeswetrust.com/ @INFRAMESWETRUST In Frames We Trust

I was born in Lamia and now live in Arkitsa, a small village in Greece. In 2011 I attended photography lessons at the Zografou artistic workshop in Athens. Since then I have participated in group exhibitions, my photos have been distinguished in competitions and I have been published in press and online. In 2017 I was an editor for IFocus.gr and Freethinking.org. In 2017-2018, I attended the Supplementary Education Program of the National Kapodistrian University of Athens. In 2018 I completed remotely, the Seeing Through Photography programs at the Museum of Modern Art in New York (MOMA) and The Camera Never Lies at the University of London via their platform. In 2019 I was an editor for Photologio.gr. In 2020, completed remotely, the Modern Art & Ideas program at the Museum of Modern Art in New York (MOMA) and Sexing the Canvas: Art and Gender by the University of Melbourne. In my series ROLL THE DICE, every image talks about the person. Human existence is hiding behind every capture. It concerns everyone who we are passing by at the same time, the ones that we meet randomly with a glimpse and that we turn away afterwards. They are strangers but familiar in the same time. All of them are immersed in thoughts. They are searching for something? They are chasing something? Sometimes even their own selves. They are people with needs, desires, and fears. You can meet them at forgotten ports, in impersonal cities, on streets. They are connected through a deep loneliness and under the words that they do not dare to say. Are they seeking for joy? Recognition? Or maybe a taxi to go? Photography for me is the mirror of the photographer. "All photographs are self-portraits” Minor White said. It does not deal with truth and reality. An inner world emerges and becomes real through this. It deals with the irrational, the illusion and the subconscious. The photography is a memory...an experience...a persistence....a glimpse...a promise never kept. Personally, I can say for sure that photography is a way of my existence, a kind of love that does not wear out as time goes by and my camera an eternal mistress The only thing that I’m sure about is that I don’t want to give answers, but to create questions. For me a capture should create doubts. Sometimes maybe I want to do a social comment. Other times, I want to express all the feelings that I hide. Sometimes I want to concern the viewers, or to provoke them, or to disturb them. Even to create some negative feelings to the viewer or disturb them I believe that this is a way of creating some sort of contact through your capture. Isolation. isolation is the gift, all the others are a test of your Endurance, of how much you really want to do it. (abstract) Roll the Dice, Charles Bukowski SOFIA DALAMAGKA I was born in Lamia and now live in Arkitsa, a small village in Greece. In 2011 I attended photography lessons at the Zografou artistic workshop in Athens. Since then I have participated in group exhibitions, my photos have been distinguished in competitions and I have been published in press and online. In 2017 I was an editor for IFocus.gr and Freethinking.org. In 2017-2018, I attended the Supplementary Education Program of the National Kapodistrian University of Athens. In 2018 I completed remotely, the Seeing Through Photography programs at the Museum of Modern Art in New York (MOMA) and The Camera Never Lies at the University of London via their platform. In 2019 I was an editor for Photologio.gr. In 2020, completed remotely, the Modern Art & Ideas program at the Museum of Modern Art in New York (MOMA) and Sexing the Canvas: Art and Gender by the University of Melbourne. In my series ROLL THE DICE, every image talks about the person. Human existence is hiding behind every capture. It concerns everyone who we are passing by at the same time, the ones that we meet randomly with a glimpse and that we turn away afterwards. They are strangers but familiar in the same time. All of them are immersed in thoughts. They are searching for something? They are chasing something? Sometimes even their own selves. They are people with needs, desires, and fears. You can meet them at forgotten ports, in impersonal cities, on streets. They are connected through a deep loneliness and under the words that they do not dare to say. Are they seeking for joy? Recognition? Or maybe a taxi to go? Photography for me is the mirror of the photographer. "All photographs are self-portraits” Minor White said. It does not deal with truth and reality. An inner world emerges and becomes real through this. It deals with the irrational, the illusion and the subconscious. The photography is a memory...an experience...a persistence....a glimpse...a promise never kept. Personally, I can say for sure that photography is a way of my existence, a kind of love that does not wear out as time goes by and my camera an eternal mistress The only thing that I’m sure about is that I don’t want to give answers, but to create questions. For me a capture should create doubts. Sometimes maybe I want to do a social comment. Other times, I want to express all the feelings that I hide. Sometimes I want to concern the viewers, or to provoke them, or to disturb them. Even to create some negative feelings to the viewer or disturb them I believe that this is a way of creating some sort of contact through your capture. Isolation. isolation is the gift, all the others are a test of your Endurance, of how much you really want to do it. (abstract) Roll the Dice, Charles Bukowski LOCATION Arkitsa GREECE CAMERA/S Canon 750D, Fujifilm XE2 WEBSITE http://www.sofiadalamagka.com/ @SOFIA_DALAMAGKA @SOFIA.DALAMAGA FEATURES // Roll the Dice

I am a West Yorkshire photographer with 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 my retirement in 2006, I have immersed myself in photography, undertaking many different projects, exhibiting work internationally, gaining several hundred acceptances and receiving numerous awards. In 2010 I 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 I gained Associateship of the Royal Photographic Society (ARPS) in 2018. I have self-published several books of my 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 my 2019 project ‘A Day at the Races’ through the Worcestershire-based photobook imprint ADM Publications. A DAY AT THE RACES: Race goers are an eclectic group. At one extreme there is the serious punter, and at the other the casual race goer simply enjoying a day out. There are those that go to be seen as well as to see, the high-rollers, the young, the old and those in between, the wealthy and those less so, the country set and the townies that just go to party. The mix of attendees is endless, creating a colourful atmosphere within the spectator enclosures as people circulate between the stands, the betting ring, the bars, and the parade ring interacting and engaging with one another. I spent much of 2019 visiting race meetings in the north of England to capture a fly on the wall document of attendees enjoying a day out. Studying the odds, enjoying a drink, having a laugh, and soaking up the drama, Peter’s candid photos showcase the frivolity of pre-pandemic race days. Most elite sports now take place behind closed doors and will continue to do so in the immediate future. Even when spectators do return, numbers are likely to be substantially reduced with the spectator experience significantly altered by social distancing and other Covid-safe protocols. When starting this project in the Spring I could not have anticipated that I was documenting the carefree dynamics of pre-pandemic days that we are unlikely to witness again in the foreseeable future, or indeed, perhaps for several years. PETER BARTLETT I am a West Yorkshire photographer with 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 my retirement in 2006, I have immersed myself in photography, undertaking many different projects, exhibiting work internationally, gaining several hundred acceptances and receiving numerous awards. In 2010 I 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 I gained Associateship of the Royal Photographic Society (ARPS) in 2018. I have self-published several books of my 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 my 2019 project ‘A Day at the Races’ through the Worcestershire-based photobook imprint ADM Publications. A DAY AT THE RACES: Race goers are an eclectic group. At one extreme there is the serious punter, and at the other the casual race goer simply enjoying a day out. There are those that go to be seen as well as to see, the high-rollers, the young, the old and those in between, the wealthy and those less so, the country set and the townies that just go to party. The mix of attendees is endless, creating a colourful atmosphere within the spectator enclosures as people circulate between the stands, the betting ring, the bars, and the parade ring interacting and engaging with one another. I spent much of 2019 visiting race meetings in the north of England to capture a fly on the wall document of attendees enjoying a day out. Studying the odds, enjoying a drink, having a laugh, and soaking up the drama, Peter’s candid photos showcase the frivolity of pre-pandemic race days. Most elite sports now take place behind closed doors and will continue to do so in the immediate future. Even when spectators do return, numbers are likely to be substantially reduced with the spectator experience significantly altered by social distancing and other Covid-safe protocols. When starting this project in the Spring I could not have anticipated that I was documenting the carefree dynamics of pre-pandemic days that we are unlikely to witness again in the foreseeable future, or indeed, perhaps for several years. LOCATION West Yorkshire UNITED KINGDOM CAMERA/S Olympus Pen F, Ricoh GRiii WEBSITE https://www.peterbartlettimages.co.uk/ @PETER.J.BARTLETT @PETER.BARTLETT.792 FEATURES // A Day At The Races A Sense of Time and Place

I really only discovered the photography at the age of 37, just three years ago. After being an employee for 15 years, in 2018, I decided to became a full time photographer. Life gave me the opportunity to meet Balint Porneczi, who is living in my town, and he introduced me into the art by lending me some photo books of old and modern photographers and by reviewing my work. I prefer black and white, however, I do like to keep colour for some particular photos. The pictures that you can see in my gallery are mainly from an upcoming book project focused on my beautiful town of Rodez, where I was born and raised and where I am still living. Now I am documenting it everyday and trying to leave my mark in the modern history of the city. JOCELYN CALAC I really only discovered the photography at the age of 37, just three years ago. After being an employee for 15 years, in 2018, I decided to became a full time photographer. Life gave me the opportunity to meet Balint Porneczi, who is living in my town, and he introduced me into the art by lending me some photo books of old and modern photographers and by reviewing my work. I prefer black and white, however, I do like to keep colour for some particular photos. The pictures that you can see in my gallery are mainly from an upcoming book project focused on my beautiful town of Rodez, where I was born and raised and where I am still living. Now I am documenting it everyday and trying to leave my mark in the modern history of the city. LOCATION Occitanie FRANCE CAMERA/S Ricoh GR3 WEBSITE http://www.jcproduction.fr/ @JOCELYN_CALAC FEATURES // Tour de Ville

MOMENTS OF BEAUTY Lucas John is an actor and photographer who tries to document the little moments of beauty in the spaces between people and their world. MOMENTS OF BEAUTY April 30, 2021 INTERVIEW PHOTOGRAPHY Lucas John INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Lucas John is an English actor and photographer who tries to document the little moments of beauty that exist in the spaces in between us all. Photography is not just an art to him, but a way of life. He became interested in it through his love for cities and street culture and connections with people. He tries to capture what he calls the spaces in between, small things that often go unnoticed by others, that exist between people and their interactions with others and their environment. “I became interested in photography mainly due to my love of big cities, people, street culture and chaos. Also being a bit of a hopeless romantic. From a young age I always wanted to live in Paris as a clown and photographer, and I became obsessed with Doisneau and Brassai as their photos encapsulated everything I wanted from life and a time I really vibed with. Further to that they resonated with me and my desire to be lost in the cities as an artist connecting with people.” IN CONVERSATION WITH LUCAS JOHN THE PICTORIAL LIST: Lucas please tell us about yourself. How did you become interested in photography? LUCAS JOHN: I was originally born in Leeds but spent most of my adult life living in London working as an actor in a physical theatre company. Currently due to the lockdown I am back in Leeds. I was living in Croatia for a short time but had to come back to the UK for unforeseen circumstances and then Boris decided to lock things down, so I find myself here for the time being. I became interested in photography mainly due to my love of big cities, people, street culture and chaos. Also being a bit of a hopeless romantic. From a young age I always wanted to live in Paris as a clown and photographer, and I became obsessed with Doisneau and Brassai as their photos encapsulated everything I wanted from life and a time I really vibed with. Further to that they resonated with me and my desire to be lost in the cities as an artist connecting with people. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? LJ: I always try and capture what I call the spaces in between. For me this is the little pockets that often go unnoticed by others, that exist between people and their interactions with others and their environment. When I am taking photographs, I really don't like to present anything aligned or within a structure I like everything to be off centre, slightly distorted with a sense of something happening out of the frame. There is a power in the imagination that is unlike anything and I really like to let the viewer create their own narrative of what is going on in the picture. That is why I never stage any of my shots and I really do try keep them as real to what I encountered as possible. Don’t get me wrong, I love an artistic shot with high contrast and shadow work, heavily edited, every now and then, but I have to say the shots that I really engage with are really naturalistic. They transport me to the scene, where I can almost smell, hear, feel and touch what was happening at the time. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? LJ: Every now and again you get people who spot that you have a camera and I find that if you're just open and honest in yourself and take ownership of your craft, then most people don't give you any grief. I try to understand as well that some people would not find it cool at all to feel like their picture has been taken without them knowing, but it is a fine line that you have to navigate when you're trying to capture realistic authentic, candid moments. If they ask I often show them the photograph or explain about what I'm doing and just try to find out a little bit more about them as a person rather than making them just a subject that I am photographing. I want to get to know them as a person as well because I believe it adds more depth, colour and richness, not only to your art but to your experience being out in the street, you are around other human beings who are deeply interesting and intriguing and can inspire you to no ends. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? LJ: I don't really have a concept in mind when I go out and hit the streets. I pop a podcast on or some cool music and I always take my notepad for poems and stories with me as well and I just wander the streets and observe life and what's going on around me. After a while you just find yourself entering a flow state where everything is extraordinary. Sometimes you can wander around aimlessly and it can get a bit of a drag and that's when I might start looking for certain things to photograph just to give me a bit more focus so I don't drift off. But more or less I just hit the streets almost every single day with my camera and just become a part of that life, a part of that scene and just live in the moment. I don't see photography as a job or a task, it's just something I really enjoy. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? LJ: Garry Winogrand - an absolutely incredible photographer with an ethos and work ethic which is infectious, rigorous and driven. I love his practice of being out on the streets each and every day documenting life. He was in love with "life" and his photos were not based around aesthetic appreciation or being "pretty," they were about the reality of the moment, having an event, a story, something hidden within the image, open to interpretation. His ability to create work but completely detach himself from it egotistically, was and is, a huge thing I have taken from his ethos. Keep moving forward, do not get trapped in the past and let the work be, develop and grow, and move forward. Olivier De Sagazan - a powerhouse in performance art. Bringing the nightmarish inner thoughts of the human condition into the moment through the creation of his creatures and physical representations of the darkest and most surreal spaces that exist within the human psyche. It has a beautiful fluidity, aggression, brutality, grace and honesty about the work. It refuses to hold back and for myself it was beautiful to see the connection and fusion of the artist and the art coming together in the moment. The art no longer exists as a piece external to the artist and therefore something which we can detach from, it lives through the artist and is present eternally. Charlie Chaplin - for his humour and comic timing. Fun engaging and simply by using the body, was able to speak sonnets of humour and vulnerability. It goes to show that the voice is not an apparatus which is used only when speaking, it is a tool which is an energy and force which can be expressed via the entirety of our being. Gao Bo - an exceptional photographer that I came across while staying in Paris. His work is just extraordinary, the depth and contrast that he uses in his work to highlight the human condition of what was going on in Tibet, and his dedication and pride to his culture by fusing his own blood with his photography creates an almost spiritual experience that can be felt pulsating out of the images. There is a real sincere honesty about his work that I haven't really found elsewhere. When I am taking photographs, I really don't like to present anything aligned or within a structure I like everything to be off centre, slightly distorted with a sense of something happening out of the frame. TPL: Where is your most favourite place to go photograph? LJ: I would have to say London. That city has a very special place in my heart, being a broke actor wandering around the streets with a camera not knowing where my next paycheck or meal was going to come from, but just living off the energy of the streets and the orchestrated chaos that is this wonderful city. When I did this, I met so many wonderful people who helped me out and became friends for life. Wandering around the city whenever I go back just makes me feel alive. It was at that time that I realised that as long as I wake up everyday and I am being creative and connecting to people be it through acting or photography, then I didn't need anything else in life. Money and security became insignificant to me and it was all about connection and art. 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? LJ: I don't think the equipment really makes a massive difference, however there are certain times that have come up when I've had to upgrade my camera equipment just because I felt that the equipment I was using wasn't giving me exactly what I wanted artistically. At the moment I'm using a Fujifilm X Pro1 one and a xe-3. Most of my images have been shot using a 28 or 27mm lens. I just like a nifty little lens that's not too obtrusive and that's easy to pocket and carry around. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? LJ: I like to visualise myself living In a tiny little apartment in Paris working as a theatre practitioner in my own horror theatre company, as well being a travelling photographer who puts on exhibitions, either in spaces, or on the street for people to enjoy. Hopefully in five years as well I will be combining my poetry writing and my photography and creating little books for people to either purchase or if they can't afford it take to go and enjoy my vision and stories from the streets. I intend to travel a hell of a lot more after getting the travel bug from Croatia and be part of artistic residencies around the world, teaching, learning and broadening my artistic knowledge and skill set. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LJ: At the moment I don't really have anything planned such as projects apart from some acting work I will be doing in the near future, working on some clown and bouffon work. I would love to collaborate with some fellow photographers and artists out there (cough) and learn from them as well because I am so new into the world of photography. It would be just incredible to collaborate with some extraordinary photographers and artists out there and see what we can come out with. TPL: "When I am not out photographing, I (like to)… LJ: When I am not out with my camera doing photography work I love to write poetry. I love to use my body physically as an actor. I love to watch horror movies endlessly, read horror stories, basically all things horror as well as take long walks in nature. I love to connect with people, going for drinks, having a laugh and working on artistic ventures. I love performing and learning new skills as a performer, practicing techniques from all backgrounds. I also love to travel as well as immersing myself in new cultures, people, artists, performers, creatives and just fellow human beings." PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

My photographs are a process of understanding parts of my life that have been defined by living or existing in different places, isolating feelings and experiences that do not necessarily need to be attached to a particular place or location. Creating compositions of every day things and the study of the human life through my images has allowed me to discover an emotion or thought that has connected my past to the present. Through my images I am fusing my worlds together, subconsciously connecting fragments of time. JO KALINOWSKI My photographs are a process of understanding parts of my life that have been defined by living or existing in different places, isolating feelings and experiences that do not necessarily need to be attached to a particular place or location. Creating compositions of every day things and the study of the human life through my images has allowed me to discover an emotion or thought that has connected my past to the present. Through my images I am fusing my worlds together, subconsciously connecting fragments of time. LOCATION Woodend AUSTRALIA CAMERA/S Canon 6D WEBSITE http://www.jokalinowski.com @JOKALINOWSKI_ FEATURES // Debutante The Study of Life

CI DEMI My path to this medium wasn’t traditional; I studied Italian Literature at Istanbul University and only discovered photography at the age of 28. That background continues to shape how I construct images. I approach photography through story, structure, absence, and return, allowing each project to develop through observation rather than staging. My personal work explores the psychogeography of Istanbul. I am interested in how the city holds memory, pressure, transformation, and loss, and how intimate experience becomes embedded within the landscape. Working through a documentarian approach, I use unstaged images, colour, and quiet tension to examine the relationship between place and lived experience. In 2022, Onagöre published my debut photobook, Şehir Fikri (Notion of a City), an eerie portrayal of Istanbul marked by the absence of people, animals, and language. Inspired by Georges Perec’s La Disparition (A Void, 1969), the book considers the city through what is withheld. My photographs have been featured in Foam Magazine and the British Journal of Photography, and exhibited at Les Rencontres d’Arles, Pera Museum, and Mudec. Alongside my personal projects, I work as a documentary photographer, with work published in The New York Times, Financial Times, and Der Spiegel. LOCATION Istanbul TÜRKIYE CAMERA/S Fujifilm X-M5 WEBSITE https://cidemi.fyi/ @CI_DEMI FEATURES // Are Those Winds

I am a Singapore-based photographer who has been shooting professionally since 2006. For me, the cityscape is a physical manifestation of the very human tension between what is and what ought to be, and also the moral tension between what merely appears to be and what is unspoken. This constant double tension infuses my photography, which both celebrates and rehabilitates the contemporary spaces and humans in their urban habitat. I like to challenge myself to create and recreate this double vision in each new series I embark upon, to help audiences become aware of the natural, the undiscussed, the undisputed, the implicit – and to ultimately reflect and question them. My photographs have been showcased in publications in Bangladesh, France, Japan, the Philippines, and Singapore. I have also held two exhibitions in Singapore. SHAWN BYRON DANKER I am a Singapore-based photographer who has been shooting professionally since 2006. For me, the cityscape is a physical manifestation of the very human tension between what is and what ought to be, and also the moral tension between what merely appears to be and what is unspoken. This constant double tension infuses my photography, which both celebrates and rehabilitates the contemporary spaces and humans in their urban habitat. I like to challenge myself to create and recreate this double vision in each new series I embark upon, to help audiences become aware of the natural, the undiscussed, the undisputed, the implicit – and to ultimately reflect and question them. My photographs have been showcased in publications in Bangladesh, France, Japan, the Philippines, and Singapore. I have also held two exhibitions in Singapore. LOCATION SINGAPORE CAMERA/S Canon 1DX, Fujifilm X100F WEBSITE https://www.shawndanker.com/ @SHAWNBYRONDANKER FEATURES // Shall We Dance Humans in Motion

PICTORIAL STORY 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. February 1, 2026 PICTORIAL STORY PHOTOGRAPHY Anjan Ghosh STORY Anjan Ghosh INTRODUCTION Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Anjan Ghosh’s photography grows out of a life shaped by movement between worlds, by attention learned slowly, and by a deep familiarity with the places he photographs in India. His work reflects a journey in which looking is inseparable from living, and photography becomes a way of staying close to what has formed him rather than stepping away from it. His photographs carry the weight of lived experience, not as autobiography, but as a quiet grounding force. This story is situated in rural and semi-urban Bengal, unfolding across villages, working landscapes, and transitional spaces shaped by daily survival. It follows Anjan as he moves through these places over time, returning to the same communities as they negotiate change. These are environments positioned between tradition and transformation, where rural and urban realities press against one another without fully merging. Anjan’s photography develops in response to this tension. His photographs do not frame these communities as peripheral or vanishing, but as active sites of continuity and adaptation. Through sustained return to the same regions, he builds a visual language grounded in familiarity, allowing everyday life to surface without emphasis or interruption. What emerges is a sustained effort to bridge distance, not through declaration, but through presence. This story considers photography as a form of listening. It asks what happens when the camera is used not to extract, but to remain; not to define, but to stay open. Within that space, everyday life is neither aestheticized nor diminished. It is allowed to stand, complex and intact. Tucked away in the quiet stretches of Purba Bardhaman lies Labandhar, a small Bengal village that has done something extraordinary. What was once a cluster of mud homes surrounded by forest has now transformed into a living canvas. Here, walls are not just walls — they are storytellers. Walk through Labandhar and you immediately feel it. Every house, every courtyard, and every narrow lane is covered in vivid Alpona-style paintings. Reds, whites, greens, and earthy shades flow across the mud surfaces like handwritten memories. Each artwork carries a piece of rural life: dancing tribal figures, birds in flight, sun motifs, forest scenes, symbols of harvest and hope. These are stories painted with love, pride, and the rhythm of everyday village life. The transformation didn’t happen overnight. Artists from different corners of India visited the village, worked with local families, and helped them rediscover their own traditions. Slowly, Labandhar shifted from a quiet settlement to a place where creativity breathed through every wall. Today, it’s fondly known as Alpona Gram — a village where art lives in the open, not behind gallery doors. What makes Labandhar magical is its honesty. The walls carry natural textures, cracks, and uneven strokes — the kind of beauty that only rural hands can create. At dusk, when the soft light touches the murals, the entire village glows like a storybook coming alive. Labandhar is more than an art destination. It is proof that creativity can rebuild identity. The murals have brought curiosity, visitors, and new energy to the people here. Women now join workshops, children grow up seeing their culture celebrated, and the village stands proudly as a symbol of Bengal’s living heritage. If you ever want to see a place where stories are painted instead of written, where tradition lives on mud walls, and where art grows from the soil itself, Labandhar is waiting for you. © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh © Anjan Ghosh For Anjan Ghosh, Labandhar represents a convergence of practice and responsibility. His photographs do not frame the village as an endpoint or a success story, but as an ongoing cultural process shaped by collective effort. What the work ultimately reveals is not the scale of change, but the conditions that allow creativity to remain embedded in everyday life. This story closes with photography functioning as record rather than resolution. Anjan’s role is to make visible a model of continuity, where art operates in shared public space and attention supports preservation without control. The village remains open and art activated, and the photographs leave it that way. To explore more of Anjan Ghosh’s work, we invite readers to view his portfolio and follow his ongoing photographic journey on Instagram, where his long-term engagement with people and place continues to unfold. view Anjan Ghosh's portfolio 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. 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.

THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. June 7, 2026 INTERVIEW PHOTOGRAPHY Chad Coombs INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Chad Coombs approaches the image as a constructed field, where identity, perception, and consciousness are not presented as stable conditions but examined as systems under pressure. Working across photography, collage, and painting, his practice resists the idea of the medium as a passive tool. Instead, process becomes central to meaning. Analog photography, hand-built imagery, direct mark-making, distortion, fragmentation, and recontextualization function as methods of inquiry, allowing the work to question how identity is shaped, interrupted, and read. In The Architecture of Consciousness, Chad extends this investigation through a Polaroid-based body of work structured across four interconnected series: Dear Diary, Interior Architecture, Reconstruction, and Foundation. Each series examines a different layer of consciousness: Dear Diary explores identity as a negotiation between personal autonomy and social expectation; Interior Architecture examines emotion as a force shaped by biology, memory, culture, and social performance; Reconstruction investigates memory as an act of continual rebuilding rather than a stable record of the past; and Foundation considers belief as the framework through which individuals interpret existence. Together, these works trace a movement through identity, emotion, memory, and belief, not as separate psychological categories but as interdependent systems. Identity informs emotion; emotion affects memory; memory reshapes belief; and belief becomes the structure through which reality is interpreted. Portraiture operates here not as representation, but as a site of construction. Figures are altered, layered, and destabilized, positioned within domestic interiors, symbolic landscapes, and cultural imagery that suggest the invisible pressures shaping human thought. Chad’s lived experience with autism also informs his sensitivity to behavior, contradiction, and social structure, shaping a practice to question patterns of perception. His work asks viewers to consider not only what they see, but how their seeing has been conditioned. Across the series, Chad proposes that consciousness is not fixed, but continually assembled. As he writes in his project statement, “What feels permanent within the mind, is often the result of an ongoing process of construction.” This statement sits at the center of the work. What appears stable within the self is revealed as process: shaped by experience, culture, memory, and the act of interpretation itself. “When I was little, I would play with my grandpa’s cameras, I really enjoyed how a camera allowed a person to isolate a visual experience. It allowed me to zero in on what was worthwhile and trim away the outside noise both visually and audibly. In high-school I got my first camera and simply used it to document party experiences with me and my friends, it wasn’t until I saw a Richard Avedon documentary, Darkness and Light, that my life truly changed. That documentary gave me goose bumps like I had never had before, and I realized you could make people feel in ways I didn’t think were possible via photographs. The camera became less of a tool and more of a framework for understanding experience. I believe the camera also allows me to retain a bit of control that I feel is outside of my reach normally. Everything within the frame is there because I either include it, or because I have positioned it within. It’s a visual puzzle where the pieces need to be found or discovered as opposed to create from nothing. I think that’s a large part of why I use a camera for almost everything, and my paintings are created as if they are photographs within my mind as well.” IN CONVERSATION WITH CHAD COOMBS TPL: The Architecture of Consciousness is structured around identity, emotion, memory, and belief. How did you arrive at these four categories, and why did they become the organising framework for the project? How much of this inquiry comes from personal experience, and how much comes from observing the world around you? CHAD: This series started after a day I almost lost my battle with depression. It was a week after and I felt a strong need to turn what had happened into not only something visual, but something good and worthwhile. So, I created the Depression image and the “by the” images. It was a way for me to take control back from something that had almost taken everything from me. It wasn’t until 3 months later that I was in a safe head space that I could re-engage with this series and I promised myself moving forward I was going to be brutally honest with my art work, and I was also going to rediscover who I was and who I wanted to become moving forward. So, this series was a parallel process alongside my own personal recovery. A representation of all the work I was putting into myself and the questions I was asking myself too. TPL: Polaroids are often associated with immediacy, intimacy, and evidence. How do you reframe or challenge those associations within this body of work? CHAD: With my Polaroid work, I use the medium less as documentation and more as a way to translate psychological states. The immediacy is important because it reflects the impulsive nature of how the work exists within my mind. The imperfections, fragmentation, and physical manipulation interrupt the sense of certainty people often associate with photography and push the images toward something more internal, emotional, and unresolved. TPL: Your use of distortion and fragmentation appears to interrupt the authority of the photographic image. Do you see this as a critique of photography’s relationship to truth? CHAD: I don’t think photography has truth any more than memory does. It's always just one perspective no matter how accurate its portrayal or documentation was. Two people can witness or photograph the exact same moment, but they can each tell/show very different results/stories. My work is more a reflection of how my mind works than an intentional critique of photography itself, it isn’t intended as an attack on photography, but it does question the assumption that photographs are objective or stable. © Chad Coombs, The Anxiety © Chad Coombs, The Anti-Performance © Chad Coombs, The Pink Collar © Chad Coombs, The Depression © Chad Coombs, Relief © Chad Coombs, Fear © Chad Coombs, Sadness © Chad Coombs, Joy © Chad Coombs, Trust © Chad Coombs, Relief © Chad Coombs, Shame © Chad Coombs, Jealousy TPL: Popular culture, advertising, and everyday imagery appear throughout the work. How do these external visual systems influence the formation of private consciousness? CHAD: I think visual culture shapes us far more deeply than we recognize. We are constantly surrounded by imagery telling us what to desire, how to behave, who to become, and what success or identity should look like. That level of repetition and exposure inevitably affects how we understand both ourselves and the world around us. TPL: Taken together, Dear Diary, Interior Architecture, Reconstruction, and Foundation suggest that consciousness is always under construction. What remains unresolved for you in this project, and where might that unresolved space lead next? CHAD: I am currently trying to sort out how to move forward with this body of work. I have actually found myself to be more secure in the realization that removing oneself from as many systems as possible is the best path, but I am also still struggling with what my own purpose can be moving forward. As much as this series was all about trying to discover what my own identity is, and what identity as a whole actually means. I've kind of come full circle and realized that identity may never be fixed or fully knowable, and I think the unresolved nature of that realization is probably what the next stage of the work will continue exploring. TPL: Who or what has most shaped your visual language? This could include artists, photographers, writers, films, music, personal experiences, or cultural imagery. CHAD: Richard Avedon has had the biggest effect on how I understand visual language. He taught me that an image can stand on its own without a word of explanation if it's strong enough, and the words can be like the background music to the vocals. Art can truly connect in ways nothing else can, and I’ve been chasing that feeling ever since. TPL: When you begin a new body of work, do you start with an image, a concept, a material process, or an emotional condition? CHAD: Earlier in my practice, work often began intuitively through image or emotion. More recently I have become increasingly interested in conceptual structure and written development before production begins. I really try to identify weaknesses and repetitive tendencies beforehand now, as opposed to my earlier method. TPL: Describe what your working environment looks like? Do you work from a studio, from home, or across different spaces depending on the project? CHAD: I live very minimally, my Polaroid work all is created in a simple home office like setup that’s in my living room, and my painting is done on top of a deep freeze in my furnace room. TPL: What part of the artistic process do you find most difficult: beginning the work, developing it, editing it, or letting it be seen by others? CHAD: The most difficult part is always trying to come up with a meaningful idea when one can't come naturally. Beyond that, the process steps are all the most enjoyable for me, I love the process more than any other part. Once a piece or a series is completed, I kind of feel sad for a moment. The marketing and networking part of an art career is easily my least favorite though, I struggle with that part and wish I didn’t need to do it. As per the work being seen, I love having my work available via publications and exhibitions. I don’t like any attention to myself, but I really enjoy it when it can be on my artwork. © Chad Coombs, Despair © Chad Coombs, Nostalgia © Chad Coombs, Distorted Memory © Chad Coombs, Ideological Belief © Chad Coombs, Cultural Belief © Chad Coombs, Relief © Chad Coombs, Imposed System 1 © Chad Coombs, Imposed System 23 © Chad Coombs, Closed System 1 © Chad Coombs, Closed System 2 © Chad Coombs, Accumulated Collapse 4 © Chad Coombs, Accumulated Collapse 6 TPL: Is there a project, scale, medium, or subject you have not yet attempted but feel would challenge you in the next stage of your practice? CHAD: I would love to spend time living in a different part of the world and allowing unfamiliar environments and cultures to influence my work. I think people discover new layers of themselves through new experiences, and I’m interested in how displacement, adaption, and observation might reshape both my thinking and my practice moving forward. As per mediums, I really have grown very comfortable with the Polaroid SX70 Camera and my Medium Format Bronica, I could happily only ever shoot with the two for the rest of my life and be very very happy. TPL: Your work asks viewers to question how they see. What do you hope they might come to understand about you, or about themselves, through encountering your images? CHAD: The truth is I don’t know the answers to so many things, and I don’t expect others to have or find those answers either. The only thing I know for certain is that we all should be asking a lot more questions in general. We can discover so much more about each other and ourselves within questions, even questions without answers can provide more growth than answers without questions can. TPL: When you are not creating art, what else may we find Chad Coombs doing? CHAD: Outside of making artwork, my life is actually fairly quiet and simple. During the winter months I tend to focus heavily on my Polaroid practice, while the summer months are usually spent working on my outdoor medium format photography series. Beyond that, I'm often working my day job as a server, researching subjects that catch my interest, or spending time outdoors. I spend a lot of time observing, thinking, and processing the world around me, which honestly doesn’t stop when the artwork does. 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.

CREATIVE MOVEMENT Be it on foot, by boat or train, Maarten Vroman photographs the altering terrain in his passage of time, building memories that will last. CREATIVE MOVEMENT April 14, 2022 INTERVIEW PHOTOGRAPHY Maarten Vromans INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Roaming through the urban streets, across rolling hills and over vast oceans, Maarten Vromans uses his lens to document the beauty of the world he travels. From the forgotten corners of society to untouched lands, his photographs are an exploration of the impermanence of time and the transient nature of life. Exploring the borders between residential, commercial and working environments, Maarten’s eye is drawn to the forgotten places, the liminal spaces between different stages of life. His method is one of motion - much like life itself, Maarten’s images appear to capture moments in constant flux; depicting the in-between places that exist as a transition between states. “Movement,” states Maarten, “is always at the heart of my work and methods.” Through his lens, we are invited to witness the quiet stillness of a no-man’s land, where the human presence is absent and only the natural beauty remains. The result is a body of work that is tranquil, abstract and picturesque, yet recognisable in its exploration of place and time. Join Maarten as he ventures into the unknown, exploring the world and all its wonders. “I simply can’t stop seeing anymore. Or stop framing. Wherever I go, I’m always on the lookout to find suitable locations. I’m on all the time – and I like it.” IN CONVERSATION WITH MAARTEN VROMANS THE PICTORIAL LIST: Maarten please tell us what draws you to photography and art? How did your journey into photography begin? MAARTEN VROMANS: As a child, I was always busy creating things. This could be drawing futuristic cars, building an ever-growing Lego town or redecorating my bedroom – which became an almost weekly exercise. As a teenager, I was planning a career as a painter, photographer or graphic designer. I was admitted to art school, but after only four months of attending classes I switched courses and eventually graduated as a journalist. For the past twenty years I’ve been working as a copywriter and creative in all kinds of organizations. During this time my interest in painting and graphic design slightly faded, but my ambition to improve my photographic skills became stronger. In 2014, I decided it was time to explore whether my lifelong dream of becoming a photographer and showing my work in a gallery could become reality. When walking through the city of Rotterdam, where I lived from 2001 until 2019, I started working on what would become my URBAN EROSION series, a project in which I explored the impact that people, nature and weather have on urban development. By the end of 2017 the gallery that just started representing me sold my first work during an international art fair in Amsterdam. Currently, I live in Delft, a small town in the Netherlands. At this very moment I’m working on a monograph of my Urban Erosion series and I’m also creating a special edition box set containing prints from my Urban Erosion² series. TPL: You state that “movement’ is at the heart of your work and methods”. Describe how this word inspires your projects? MV: I never work in a studio. I always go out to take photos. And when I do, I’m always on the move. For my photo series LUCKY SHOTS, and for the successors GO WEST and NO HORIZON, I was travelling by train, taking pictures of the landscapes that I passed by. The results clearly show that I, as a photographer, am moving with a certain speed while taking shots. As such, "movement" is inherent to all the images in these series. When shooting my series URBAN EROSION and URBAN TRANSITION, I’m always wandering to find perfect locations in the no-man’s land between residential, commercial and working environments. "Moving" through these built-up, cultivated and untouched areas is part of the process of creating these series. TPL: Your Instagram gallery feels like a visual journey, your passage of time and building memories. Do you see your world differently now, then you did when you first started out in photography? If so, define that new vision. MV: Thank you for your kind words about my Instagram gallery. Yes, I definitely look at the world differently since I’ve started working on my photo series. I simply can’t stop seeing anymore. Or stop framing. Wherever I go, I’m always on the lookout to find suitable locations for my ongoing ‘URBAN TRANSITION series, the sequel to the URBAN EROSION series. I’m on all the time – and I like it. From project 'Lucky Shots' © Maarten Vromans From project 'Urban Transitions' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Urban Transition' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Go West' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Transition' © Maarten Vromans TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? MV: My parents got me my first camera in 1990. It was an analog point and shoot Fuji FZ-5, with a fixed 35mm lens. I still have it today, although I haven’t used it since 1993. The Fuji didn’t offer me much to learn in terms of controlling a camera. But it did teach me the most important skill I needed as a photographer: how to frame a picture. I’ve switched camera’s a few times since then, until 2018 when I bought a slightly used Sony A7R. I have a Sony 35mm 1.8 lens glued to it. I love the looks of this combination, I’m in full control off it and I’m planning to use it for many years to come. TPL: What has been your most memorable moment as a photographer? MV: 😂 In 2018 I was travelling from New York to San Francisco to shoot my GO WEST series. I had prepared that project very well, yet the first 24 hours of my trip turned out to be a total disaster. All the photos I took were disappointing. The batteries of my equipment were dying, due to malfunctioning power outlets in my coach. And my train was delayed for more than three hours, which meant I was in danger of missing my connecting train in Chicago. I was close to giving up. I phoned my girlfriend back home in the Netherlands and she urged me to carry on. I did and everything changed for the better. I caught my connecting train. Was able to recharge my equipment. And after another day of non-stop travelling, the train drove off into the Rocky Mountains – with me still on it of course. With the landscape that revealed itself from that moment on, I was finally able to create a photo series that stood out from my earlier Lucky Shots project. Had I given up in Chicago, my ‘Go West’ series would not have existed. I'm also pretty sure I wouldn't have travelled to Switzerland to create the sequel series ‘No Horizon’ in 2019. After successfully completing those photo series, I am convinced that I can also overcome any setbacks when making my future projects. I don't want to come to a standstill. Movement, in every way, is essential in my work and methods. TPL: Do you have any favorite photographers you would like to share with us, and the reason for their significance? MV: Where do I begin? I admire how Awoiska van der Molen, Hiroshi Sugimoto, Misha de Ridder and Teo Becher are capable of capturing the atmosphere of desolate landscapes. And I love how Bert Danckaert, Marleen Sleeuwits, Filip Dujardin and Rowan Hutchinson find beauty in spaces and cities. TPL: What are some of your most favorite spots you find inspiration to explore through your photography, and what draws you there? MV: Everywhere I go, I like to visit museums and galleries with a strong focus on photography. Like Huis Marseille in Amsterdam, or the Nederlands Fotomuseum in Rotterdam. I also love to collect small photography booklets brought to the market by small, independent publishers, such as Another Place Press, Café Royal Books, The Modernist, Multi Press or The Velvet Cell. Publications that have landscapes or urbanscapes as their main subject, always attract my attention. I usually discover those small publications at art and photo book fairs. TPL: Are there any other photographic projects you are working on, or have planned in the near future? MV: Currently I am working on my ongoing URBAN TRANSITION series, which I started at the beginning of 2021. Whenever the weather is cloudy, I like to wander around Dutch cities such as Rotterdam, Amsterdam and Delft, and capture the layered history of buildings I come across. I am also working on a new project. I want to sail across the Atlantic Ocean in 2023 to create a new photo series. In the next few months, I’ll start developing a new visual language and I’ll also be on the lookout for some funding. From project 'No Horizon' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Transition' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Go West' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Lucky Shots' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'No Horizon' © Maarten Vromans TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MV: I hope that within five years my work can be on show in one of my favorite museums. I also hope that I can continue to develop as a photographer, by getting started with challenging projects. I don't want to come to a standstill. As said; movement, in every way, is essential in my work and methods. TPL: “When I am not out photographing, I (like to)… MV: I still like to play with Lego. And I still love redecorating my living room - driving my girlfriend crazy sometimes. Last but not least I really like to visit remote destinations like Spitsbergen, Greenland and the Faroe Islands.” 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.

TOPOGRAPHICAL VISTAS It is that angle of light or that unusual juxtaposition that elevates Gabriel Sollberger's topography into something truly beautiful. TOPOGRAPHICAL VISTAS March 22, 2020 INTERVIEW PHOTOGRAPHY Gabriel Sollberger INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The world around us is filled with beauty, but often times it is hard to recognize this beauty in the everyday – that is until you meet Gabriel Sollberger. A photographer with an insatiable passion for light, Gabriel has dedicated his life to seeking out and capturing the extraordinary moments of the seemingly mundane. His profound eye has allowed him to reveal the hidden splendor within the often overlooked vistas of this world – elevating them to something truly remarkable and worth protecting. Whether it’s a special angle, an unexpected juxtaposition, or a sense of solitude in an empty man-made landscape, Gabriel is committed to finding and immortalizing these special moments. His work has been described as captivating and awe-inspiring, and those who have seen it understand why some have said that he is ‘addicted to light’. To those unfamiliar with his work, Gabriel’s photographs may seem just like any other – banal, even. Yet, when viewed through the lens that Gabriel has crafted, these same photographs become something much more – a portal into a world of beauty and wonder that we may not have seen before. Join us as we delve into the work of Gabriel Sollberger and explore the extraordinary moments of the seemingly mundane that he is so passionate about capturing. “I think inspiration – for me – comes from different directions. It can be a truly beautiful, remote landscape, but it can also be a detail, unusual light in an otherwise familiar situation or a special constellation of trivial things or objects.” IN CONVERSATION WITH GABRIEL SOLLBERGER THE PICTORIAL LIST: Gabriel, do you remember when you first became interested in photography? GABRIEL SOLLBERGER: My father used to take pictures of us kids when I was little. He had a (I assume, I can’t remember the model) decent camera and I still remember how fascinated I was by the fact that I could just turn the lens and things would move closer. I then got a compact film camera from my parents and happily snapped away, taking pictures of everything. I totally enjoyed being able to capture a moment and revisit it when I got the photos back. As much as I would like to say that this interest in photography persisted, I did not follow it up and it was only a couple years later when I picked up a camera again and have kept shooting ever since. TPL: Do you have a different style of photographing today than when you first started? GS: Definitely and I hope that it is still changing. It took me a long time to get an idea of what it is I’m actually looking for when I go out to shoot and I don’t think that this journey is over yet. TPL: Where is your favourite place(s) to photograph? GS: Definitely outside. Usually an area with little to no people, but with a clear human-made element. This is my comfort zone, but I try to leave this zone from time to time and force myself to do new things. TPL: Do you have any favourite artists or photographers you would like to share with us? GS: There are many, but to name just a few, I am very inspired by the new topographic movement ( Robert Adams, Bernd and Hilla Becher, others), Fan Ho, William Eggleston, Sebastiao Salgado or Nan Goldin. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? GS: It depends. I’d love to say that gear doesn’t matter and in a lot of situations this is true. Still I love the dynamic range of newer cameras for landscape photography, especially since I like to go out with not too much additional equipment. I’m not so much the person who changes filters after every shot. If I had to give any advice, it would be “use a prime lens”. Not because I think that the image quality is always so much better compared to zoom lenses, it’s simply because when I used a 35mm lens for the first time, I learned so much about where I have to stand to compose my photo. Not being able to zoom really improved my images in a very short time. We are proof that the heart is a risky fuel to burn. - from song: Ohia TPL: Were you involved or still involved in any other artistic fields before photography? GS: I play the piano and was always involved in different musical projects. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? GS: I am working on a intermediate to long term project about my home town and region. I live quite far from there now and every time I go back I try to get some shots, aiming to document it from an outsider’s perspective. TPL: "If I wasn't photographing what would I be doing?... GS: I have quite demanding day job, which fortunately also involves a lot of creativity. Still, photography is my safe haven and I enjoy every minute of it." PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.