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I was born in The Netherlands but grew up in Australia and apparently the city of Brisbane is now home. I have travelled extensively since a young age and travel and photography go hand-in-hand (not always in the best sense) so I guess this is where my interest originated, particularly combining cultural and “artistic” elements in a photograph. I am very inquisitive and like to explore, observing and wondering how things work; photography gives me the chance to capture what I am thinking/ seeing. I’m also fascinated by this ridiculously diverse planet we live on, which means I like too many types of photography, from insect macro to sweeping landscapes and of course, my favourite, street photography. My street photography process is usually just walking and looking for moments to unfold, but often I’ll find a composition and wait for a particular character…if I really want the shot, this wait can be up to an hour. I’m a sucker for black-and-white because of the way it simplifies an image, and also images with a single or matching colour tones (e.g. hot and cold). In mid-2019 I started a one year ‘mid-career’ break with the intention to focus on travel and photography. This trip has covered quite a few places, seasons and cultures so the photographs submitted are diverse, but they all reflect my current mood and focus. A few are from an earlier trip in 2015 but again they fit this theme. PEPIJN THIJSSE I was born in The Netherlands but grew up in Australia and apparently the city of Brisbane is now home. I have travelled extensively since a young age and travel and photography go hand-in-hand (not always in the best sense) so I guess this is where my interest originated, particularly combining cultural and “artistic” elements in a photograph. I am very inquisitive and like to explore, observing and wondering how things work; photography gives me the chance to capture what I am thinking/ seeing. I’m also fascinated by this ridiculously diverse planet we live on, which means I like too many types of photography, from insect macro to sweeping landscapes and of course, my favourite, street photography. My street photography process is usually just walking and looking for moments to unfold, but often I’ll find a composition and wait for a particular character…if I really want the shot, this wait can be up to an hour. I’m a sucker for black-and-white because of the way it simplifies an image, and also images with a single or matching colour tones (e.g. hot and cold). In mid-2019 I started a one year ‘mid-career’ break with the intention to focus on travel and photography. This trip has covered quite a few places, seasons and cultures so the photographs submitted are diverse, but they all reflect my current mood and focus. A few are from an earlier trip in 2015 but again they fit this theme. LOCATION Brisbane AUSTRALIA CAMERA/S Olympus EM10, Fuji XT2, Sony A7iii WEBSITE http://www.pepijnthijsse.com @PTHYSSE @P_THYSSE FEATURES // Observing Life Unfolding

Ever since I remember myself I loved photography. In school I was the class photographer. Later on my subjects were my family and the countries where I lived or travelled to. I have a Masters Degree in psychology and I later studied photography. My Aesthetics of Photography professor, Laura Dodson @lauradodsonphoto, always professed, ‘don’t photograph babies, pretty young girls or sunsets, as these subjects are beautiful in themselves and you don’t need to make any effort or put any thought into capturing them. Also, Laura encouraged me to exhibit during my studies and I never stopped since. I usually make a book to complement my exhibition. From the eight books that I have published, three were published for special events and the rest accompanied my exhibitions. My last book, ‘Casablanca’, was published for the exhibition of the same name at Benaki Museum of Islamic Art in Athens. I contributed my photos for the book ‘Quartier Réservé’ or ‘Red light District’ under the direction of Jean-Francois Stazsak and Raphaël Pieroni, which was done for an exhibition scheduled for April 2019 in Casablanca and later in Geneva but was postponed indefinitely because of the pandemic. In Casablanca I belong to an association called Casamemoire, which was created to safeguard of Casablanca’s heritage. In 2015 I photographed Casablanca as our goal was to include Casablanca’s twentieth century architecture among the World Heritage Sites. I also photographed the interior of the buildings, which gave me the opportunity to talk to people, to get acquainted with their everyday lives and understand the reasons why they effected changes in the buildings. This experience was beneficial in helping me overcome my apprehension and shyness when asking people on the street if I could take a picture of them. I am a people photographer and I tried to include pictures of people in the architectural photos as much as possible, which was what the UNESCO committee really liked. A couple of years ago I started posting pictures on Instagram. I enjoy it but find it involves much more effort than I expected, and leaves little time for my other photographic activities. I am grateful to Sean Tucker who through his YouTube channel, helped me put Instagram into perspective. MELITA VANGELATOU Ever since I remember myself I loved photography. In school I was the class photographer. Later on my subjects were my family and the countries where I lived or travelled to. I have a Masters Degree in psychology and I later studied photography. My Aesthetics of Photography professor, Laura Dodson @lauradodsonphoto, always professed, ‘don’t photograph babies, pretty young girls or sunsets, as these subjects are beautiful in themselves and you don’t need to make any effort or put any thought into capturing them. Also, Laura encouraged me to exhibit during my studies and I never stopped since. I usually make a book to complement my exhibition. From the eight books that I have published, three were published for special events and the rest accompanied my exhibitions. My last book, ‘Casablanca’, was published for the exhibition of the same name at Benaki Museum of Islamic Art in Athens. I contributed my photos for the book ‘Quartier Réservé’ or ‘Red light District’ under the direction of Jean-Francois Stazsak and Raphaël Pieroni, which was done for an exhibition scheduled for April 2019 in Casablanca and later in Geneva but was postponed indefinitely because of the pandemic. In Casablanca I belong to an association called Casamemoire, which was created to safeguard of Casablanca’s heritage. In 2015 I photographed Casablanca as our goal was to include Casablanca’s twentieth century architecture among the World Heritage Sites. I also photographed the interior of the buildings, which gave me the opportunity to talk to people, to get acquainted with their everyday lives and understand the reasons why they effected changes in the buildings. This experience was beneficial in helping me overcome my apprehension and shyness when asking people on the street if I could take a picture of them. I am a people photographer and I tried to include pictures of people in the architectural photos as much as possible, which was what the UNESCO committee really liked. A couple of years ago I started posting pictures on Instagram. I enjoy it but find it involves much more effort than I expected, and leaves little time for my other photographic activities. I am grateful to Sean Tucker who through his YouTube channel, helped me put Instagram into perspective. LOCATION Casablanca MOROCCO CAMERA/S Leica @MELITAVANGELATOS FEATURES // Casablanca Now Telling Stories

Barbara Peacock is an awarded and published photographer that has contributed to helping define and explore the fabric of American society in a tender, genuine way. She has given us the unique opportunity to see more clearly and embrace our triumphs, as well as our fears, helping us understand and grow as people. You can share Barbara’s personal journey through a series from her book Hometown. Visit her website and make the connections to “community”, the people that she has so vividly and eloquently defined through her photography for over 30 years. BARBARA PEACOCK Barbara Peacock is an awarded and published photographer that has contributed to helping define and explore the fabric of American society in a tender, genuine way. She has given us the unique opportunity to see more clearly and embrace our triumphs, as well as our fears, helping us understand and grow as people. You can share Barbara’s personal journey through a series from her book Hometown. Visit her website and make the connections to “community”, the people that she has so vividly and eloquently defined through her photography for over 30 years. LOCATION Portland UNITED STATES CAMERA/S Canon WEBSITE https://www.americanbedroomseries.com/ @BARBARA.PEACOCK_ABEDROOM @BARBARA.PEACOCK.12 FEATURES // Under The Covers With American Bedroom

I have been doing street photography for approximately one year. I try to communicate to the world the beauty as I see it and show it in my photos. I am hoping to promote my photography by getting it out to a wider audience via your website. YOEL GRACIA I have been doing street photography for approximately one year. I try to communicate to the world the beauty as I see it and show it in my photos. I am hoping to promote my photography by getting it out to a wider audience via your website. LOCATION Zaragoza SPAIN CAMERA/S Olympus OMD-EM10ii @_MESYEUX_ @_MESYEUX_ FEATURES // How I See The World

NUANCES OF LIGHT From the rolling hills of vineyards to the quaint old towns and the rustic feel of traditional craftsmanship, Tuscany is an area of unique beauty that has been captured and immortalised by the Italian photographer Simone Batini. NUANCES OF LIGHT October 22, 2021 INTERVIEW PHOTOGRAPHY Simone Batini INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As the sun casts its golden light in the valleys of Tuscany, we are reminded of the beauty that can be found in this region of Italy. From the rolling hills of vineyards to the quaint old towns and the rustic feel of traditional craftsmanship, Tuscany is an area of unique beauty that has been captured and immortalised by the Italian photographer Simone Batini. Since a young age, Simone has been inspired by the light and atmosphere of the Tuscan countryside, and his passion for photography has only grown over the years. His photographs tell a unique story of ancient crafts being practiced in modern times, along with capturing the beauty of the region's landscapes. With a signature style that emphasises realism, yet often includes a special light and mood, Simone's work is breathtakingly beautiful. Join us as we take a journey through Tuscany's history and culture, as told through the stunning photography of Simone Batini. “I find inspiration through the research of what I prefer to photograph, from nature that changes with the seasons, to the life of people who through work and crafts have evolved over the years, but also in the present continue to maintain ancient traditions. I love to tell all this through my photographs, with the search for the light and atmosphere that strikes me most to best convey my photographic vision. In recent years, I have been dedicating myself to enhancing my areas with both landscape shots and reportage, always with the great passion for photography that I have since childhood.” IN CONVERSATION WITH SIMONE BATINI THE PICTORIAL LIST: Simone please tell us about yourself. How did you become interested in photography? SIMONE BATINI: I live in Italy in the Tuscany region. I have been passionate about photography for years, since I was a child. I have always tried to immortalize through images what struck me the most. Growing up and with the arrival of digital photography, I have tried to learn more and more, and to date, I think I have achieved a good skill level, through the study of light, composition and the search for specific projects. TPL: Do you have a favourite type of photography? In this instance, we present your stunning landscape photographs and, separately, a documentary about artisans in Tuscany. What is your purpose in taking these photos? SB: I like almost all photographic genres, personally I take a very natural and truthful photograph, for my shots I prefer the landscape and reportage genre, however I also practice other genres such as macro and street. The series of photographs entitled TEMPI PASSATI (TIMES PAST)* was born from my idea of telling the artisan working realities still present in my territory. Regarding the landscape series, the first genre that I practiced and to which I am much attached, it is a real thrill to wake up early in the morning and try to capture the nuances of dawn with the mists and above all, with the warm light that follows. It transmits to me positive sensations, through this I try to show the places that are most dear to me, with the same search for light even at nightfall. I love the last hours of the day and I hope to experience these positive sensations for many days of my life. Editor's Note: Read the story by Simone via the link below. TPL: Does the equipment you use help you realize your vision in your photography? What camera do you use? Do you have a favourite lens/focal length? SB: I have been using Nikon cameras for years, currently Nikon D610 and Nikon Z50. My favourite lenses are the 24-120 f4 and the 16-50 f3.5/5.6, and also a prime lens of 20mm and a 90mm, which are both f2.8. It is a real thrill to wake up early in the morning and try to capture the nuances of dawn with the mists and above all, with the warm light that follows. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? SB: My goals are to maintain the level I have reached and if possible improve it in small steps. In five years, I hope to be still in the field, always engaged in new photographic projects, the hope and the dream of transforming this passion into a real job never fades, but I am aware that today it is difficult to become noticed among many photographers, and I still have a lot to learn. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SB: I am currently completing a series of reportages on modern sculptors and the landscapes of my land. TPL: "When I am not out photographing, I (like to)… SB: Observe carefully what surrounds me, be in company and meet creative people. Of course also being with the family and above all with my two children, to whom I try to transmit the main values of life, in respect of nature, people and things." 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 work focuses on portraiture and storytelling. I began photographing actors and re-enactors obsessed with history. In broader terms I started documenting various sub-cultures of time travelers, trying to capture people's eccentricities, obsessions and their world of escapism. I observe people from all walks of life who park aside their everyday lives and immerse themselves into an alternate world. I am fascinated by the concept of actors and stage, believing there is an actor in everyone, or perhaps a re-enactor. RUSSELL COBB My work focuses on portraiture and storytelling. I began photographing actors and re-enactors obsessed with history. In broader terms I started documenting various sub-cultures of time travelers, trying to capture people's eccentricities, obsessions and their world of escapism. I observe people from all walks of life who park aside their everyday lives and immerse themselves into an alternate world. I am fascinated by the concept of actors and stage, believing there is an actor in everyone, or perhaps a re-enactor. LOCATION Liphook UNITED KINGDOM CAMERA/S Leica SL2 & Leica M10 WEBSITE http://www.cobbphoto.com @RUSSELLCOBB FEATURES // Transtemporal

PICTORIAL STORY THE INVISIBLE WORKERS May 28, 2020 PICTORIAL STORY Photography by Adrian Whear Story by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the crowded streets of Dhaka to the open-air kilns of its richly traditional brick factories, Adrian Whear's experience of Bangladesh was a journey into a world of culture and tradition unlike anything he had ever seen before. As a street photographer based in Melbourne, Adrian eagerly embraced the opportunity to travel to Bangladesh and photograph alongside the members of the Bangladesh Photographic Society. From his encounters with the friendly people of Bangladesh to witnessing their hard-working lives, Adrian's photos speak volumes about the hidden stories of this often-overlooked country. Through his pictures, Adrian beautifully captures the warmth and generosity of the Bengali people, while also highlighting the harsh realities of their struggle for survival in a rapidly expanding urban environment. Join Adrian on his incredible journey as he discovers the unique beauty of Bangladesh and its resilient people. “I would describe my travel experience to Bangladesh as real-world time travel. The Bengali people are economically poor, but so rich and generous in spirit and soul. I felt so connected to them that I wanted my photography to represent them all fairly and honestly. Their stories are mostly hidden from the majority of the Western world, and it is important for all of us to remember that all people are equal and deserve to be treated respectfully. I hope I have achieved this with my photography.” The first couple of days in Bangladesh were spent with Adrian trying to shoot his usual street style in the old part of Dhaka. “Everywhere I went, I would attract attention, people would follow me, and many curious eyes would stare at me. This made it near impossible for me to capture any candid street scenes. I posed for many photos, and I believe that there must be many images of me out there on Facebook in Bangladesh,” says Adrian. Bangladesh is a country with a rapidly growing population of over 160 million people. In the metro area of Dhaka alone there are over 21 million, which has resulted in a rapid urban expansion. This in turn has led to a high demand for cheap building materials, which has led to a thriving brick making industry. The land around Dhaka is full of high chimneys, spewing out thick smoke from the millions of bricks being burnt. The World Bank estimates that the industry here employs over one million people who churn out approximately 23 million bricks every year. These bricks are produced using an old method of mixing soil with water, which is then formed into bricks using wooden frames, then left to dry in the sun before being fired in traditional coal burning outdoor kilns. This process is almost entirely done by hand. Male and female workers of all ages travel from all over Bangladesh to get a job in these factories, where they earn between 300-800 Taka (US$3.50-$9.50) a day. For the poor, life is unimaginably hard in Bangladesh. Adrian remembers seeing the brick factories for the first time. “I was overwhelmed by the sheer scale of the factories; they were so large in area. I had not imagined them to be so vast. As far as my eyes could see there were bricks and chimneys. The landscape was flat, everything was at ground level except for the large number of chimneys reaching for the sky, spewing out grey smoke. What I immediately noticed was the dust, just so much dust in the air. Initially I did not see many people as they were working down in the open kilns. The first people I saw were the children, who were drawn to the Westerner arriving, whilst their parents were occupied and working.” Adrian virtually had unlimited access to anywhere within the workplace as long as he didn't get in the way. Occupational health and safety are non-existent. The workers are paid by the load, so they really cannot stop to pose for a photograph or stop to talk. Any interruptions to their work could potentially cost them some wages. Adrian prefers to photograph disengaged, as it allows him to enter a mindset where he is fully focused on the environment. He wants to capture the natural essence of the scene. But there were many times when he moved between being disengaged and engaged in Bangladesh, like times when someone would reach out to him. At such times he always tried to respond, whether that was just a knowing glance, a nod of the head or a passing word such as “Hello” or “Where are you from?”. “We would occasionally make eye contact for a short moment to connect, where you would just see and feel their humanity. A couple of workers asked me for some of my water, which I absolutely happily obliged. At the end of the day, it was time to relax. The older men would drink milk tea and smoke, the younger men would start up a game of cricket or soccer, the girls would start a skipping game, and the older women would gather together, talk and watch,” he explains. Seeing all this made Adrian put the camera down to connect with the Bengali people as much as he could, drinking milk tea, complete with six sugars and joining in and talking with the men. English is widely spoken. He joined in nightly games of cricket, and as soon as word got around, more people showed up to join in. “I soon became a combination of Ricky Ponting, Shane Warne and Adam Gilchrist! With the young girls I would skip rope and teach them clapping games. I'm sure I missed out on many great photographic opportunities, but I have memories that are priceless from these evenings.” Adrian was often captivated by the vibrant colours of the textiles worn by the women in total contrast to the bland background and brutal reality of the scene. In the West we are conditioned in many ways to still see this type of work as being 'mans' work, so the sheer brutality of this type of manual labor becomes even more obvious when you see the women and children also being exploited. Women workers suffer from a lack of secured employment, low and discriminating wages, and exploitative working conditions. Their way of life is perpetually in a state of continuous change. The women comprise about half of the total workforce of every brick factory. They generally are the wives of the male factory workers and usually take up the employment to improve the standard of living for their families rather than to achieve any independent status for themselves. The children cannot be left home alone and usually the older children will help the parents out in whatever ways they can. Although school is compulsory, parents often do not send their children, because out of the necessity for another meager wage to help support the family. Most of the girls in the age group 10-16 work alongside their mothers and the boys in the age group 10-17 work mostly in the loading and unloading from the truck. According to the United Nations Human Development Index 2019, Bangladesh ranks in place 135 of 189 countries for which report data exist. The mean years of schooling are 6.1. By comparison, Australia ranks in place 6 and has 12.7 mean years of schooling. Singapore ranks in place 9, with 11.5 mean years of schooling. “For me, it was very emotional to see the young girls carrying out this type of manual labor. At that time of travelling to Bangladesh, my daughter in Melbourne was 17, so I would often compare her life to her counterparts in Bangladesh,” says Adrian. © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear Whilst this story focuses mostly on Adrian's experience visiting the brick factories in Bangladesh, he also visited one in Kathmandu, Nepal. There are also thousands of brick factories located in India and Pakistan, all with very similar stories. Children everywhere, no safety equipment, illness, withheld wages, pregnant women, and no clean water. Workers are treated like slaves, and it has been going on for many decades. It is time for governments to take responsibility and end this exploitation that rightly should not be happening in the 21st century. view Adrian's portfolio Read an interview with Adrian >>> Instagram >>> Sources used in this story - World Bank Wikipedia | Bangladesh A. Mandal, Women Workers in Brick Factory: Sordid Saga from a District of West Bengal, 2005 United Nations 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.

I am a physicist, an amateur film photographer and a mixed media artist. IVAN DOMARATSKIY I am a physicist, an amateur film photographer and a mixed media artist. LOCATION Moscow RUSSIA CAMERA/S Pentax SF7, Pentax ME, Mamiya RB67, Agat 18K @VANADIUM_DIOXIDE FEATURES // Pictorialistic Reality

THE CREATIVE CIRCLE John Lillie likes photography, it gives him the chance to be creative and to make images that combine design, information and emotion. THE CREATIVE CIRCLE February 22, 2021 INTERVIEW PHOTOGRAPHY John Lillie INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE John Lillie is a man of many talents. From his years as a triathlete to his lifelong passion for photography, his story is one of profound transformation and artistic discovery. John found himself inspired by the world of triathlon, captivated by its challenge and energy. As he immersed himself in the sport, he quickly developed an entrepreneurial spirit and launched his own triathlon magazine. However, it was not until he bought a camera to capture images for the magazine that his passion for photography truly blossomed. Since then, John has dedicated himself to the craft, taking summer courses at St Martins Art College and immersing himself in street and portrait photography. Now retired and living in Spain, he has been able to bring his creative vision to life through his work. His focus is to make images that combine design, information and emotion. John’s dedication has paid off; in 2020, he had six exhibitions of his work in galleries and exhibition spaces. His passion for capturing the beauty of everyday life has only grown and he continues to explore creativity and experimentation as he further develops his craft. “From my days of producing a print magazine each photo I took back then would involve some forward planning; how I would use the picture, where it would go, landscape, portrait or double page spread, all these options would be considered. Also, using film and paying for every frame, plus the processing fees, kept my shot rate low. I continue with this same mindset.” IN CONVERSATION WITH JOHN LILLIE TPL: John please tell us about yourself. How did you become interested in photography? JL: I am an Englishman, born in 1945. In my youth my passion was cycle racing. After racing I had various businesses - I have always been self employed. While working I still rode my bike and also played squash which led me into triathlon. I was a triathlete for a few years (a four times Ironman finisher). One day I was so disgruntled with the existing triathlon media that on a whim I started my own triathlon magazine (it still exists). I did not have a budget to pay for pictures so I bought a camera. This is how I became interest in photography. I stopped being the editor after 7 years but kept my Canon EOS1s and said goodbye to Fujifilm Velvia and gave up taking snaps. Twenty years later (2015) I bought a used Fujifil XT1 with pancake lens and walked around taking pictures of my locale. By now I was retired and living in Spain. Since then I have immersed myself in photography. To get some education, I have taken various summer courses at St Martins Art College in London, specialising in street and portrait photography. A little while ago I started printing and framing my best pictures, I liked seeing them in print so much that I put my energies into finding galleries and exhibition spaces. I have had six exhibitions in 2020. TPL: When you go out to photograph, do you have a concept in mind of what you want to photograph, or do you just let the images 'come to you', or is it both? JL: I look at people; not landscapes, not architecture, not animals, just humans. TPL: Do you have a favorite place(s) to photograph? JL: Somewhere new, different from home, a busy place, probably any foreign city, the more foreign the better. In 2019 I visited Kathmandu, a dirty, dusty, poor beleaguered city. But full of wonderful, amazing and beautiful Nepalese people. I made a collection of pictures that I am proud of, I hope to revisit one day. I look at people; not landscapes, not architecture, not animals, just humans. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? JL: I am inspired by many famous photographers and I regularly buy books (mostly second hand) but these four I like a lot: Mary Ellen Mark for her storytelling, André Kertész for his graphic design, Philippe Halsman for being astonishing and Duane Michals for a bit of all of them. Looking at some of these classic photos inspired me to take similar pictures which led me to a series of Homages - It’s fun to make a very similar but not a carbon copy of the original. I had my friends dress as Picasso and emulated the Robert Doisneau photo with bread in place of Picasso’s hands. I was visiting friends in Bali and bread wasn’t easy available so a couple of Picasso's had bananas for hands. TPL: What are some of your goals as an artist? Where do you see yourself or do you hope to see yourself in five years? JL: I like to print and hang my pictures in public spaces, it completes the creative circle. TPL: When I am not out photographing, I (like to)… JL: To keep moving; I still do my best to keep fit. 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.

HEART AND SOUL For Sofia Sitnikiene, photography is her medium of choice to express her artistic vision for documenting life as it unfolds. HEART AND SOUL March 8, 2020 INTERVIEW PHOTOGRAPHY Sofia Sitnikiene INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Sofia Sitnikiene - a graphic designer, artist, empath, introvert, and mother who has a unique perspective on life. Sofia has a passion for capturing the beauty of life as it unfolds, and she does so through her stunning photography. Her art is more than just a snapshot - it's a true reflection of the world around us, full of meaning and significance. Sofia's approach to photography is all about experimentation. She plays with light, texture, and tone to create breathtaking monochromatic photos that speak to the mind, heart, and soul. Her work is a true masterpiece - a perfect blend of art and storytelling. After giving birth to her first child, Sofia felt motivated to pick up her camera once more and capture memorable moments of her family's growth. As time passed, she grew a deep interest in creating images that reflected her personal emotions and perspective of the world around her. What drives Sofia's passion for photography is her desire to document life through images that matter. Her artistic vision believes that every moment is precious, and her goal is to capture that essence through her lens. “When I started, I photographed portraits of my children and documented all of our trips abroad. Later I focused on learning how to capture images that told stories, how to read and understand light and how to shoot in manual mode. Learning manual mode changed everything for me.” IN CONVERSATION WITH SOFIA SITNIKIENE THE PICTORIAL LIST: Sofia, can you tell us when you first became interested in photography?? SOFIA SITNIKIENE: I first started getting interested in photography when I traveled to Poland in 2007, it was an important trip and something that I wanted to do since I was a child. I visited the Auschwitz-Birkenau concentration camp and felt the need to document my journey, history has always fascinated me and I believe that it is important to understand it. I had also taken a film photography course when I studied graphic design in 1998. My mother was an artist and hobbyist photographer so I guess that this had a lot to do with my choices in life. TPL: Where do you find your inspiration? SS: From music, a good movie, a book, nature, my children and most importantly from emotions. I am a sensitive person, an empath and an introvert, this can be hard sometimes. Photography has a deeply spiritual aspect, going out to shoot can be uplifting. TPL: Where is your favourite place(s) to photograph? SS: In my home, a park when there’s good weather, the streets of London. I also love to travel abroad. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? SS: I think it helps but it’s not the most important thing as you can take a great image with your mobile phone or even with an old film camera. I still use my mother’s Canon A-E1 when I have the time. It’s about thinking, observing, understanding and practicing. There is always something new to learn, never stop learning. Don’t shoot what it looks like. Shoot what it feels like. - David Alan Harvey TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? SS: I think you have to love it and be passionate about it. I would say first learn how to use your camera, learn how to shoot in manual mode, understand how focal length affects the aesthetic of an image; after learn how to compose correctly, how to read light, how to observe the world around you, how to capture emotions, all of the small details; later you can learn how to edit in Lightroom, Photoshop or any other program that you feel comfortable with. TPL: Have you ever been involved in the artistic world before photography? SS: I was a graphic designer and illustrator for many years. TPL: Would you like to share any artists or photographers who have inspired you? SS: Ansel Adams, Henri Cartier-Bresson, Man Ray, Robert Frank, Steve McCurry, Vivian Maier, Alan Schaller, Meg Loeks, Jyo Bhamidipati, Julia Anna Gospodarou, Joel Tjintjelaar. There are so many photographers that have inspired me throughout my journey it would be hard to mention them all. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SS: Today I’m working on a series of images that capture the streets of London. It’s something that has always interested me, they are all in black and white. I am going to do a street photography workshop soon. TPL: “When I am not out photographing, I (like to)… SS: Paint and draw.” 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've loved photography since I was a little kid - I remember finding a book on photography around the house and then carrying it around with me. Because I was too young to read I would just look through the pictures over and over. I've always loved the idea of being able to stop a moment in time and keep it forever. With street photography I enjoy finding the awesome in the everyday and often overlooked scenes and objects. Most of my work is shot around Central London - Soho, Chinatown and Greenpark. DARREN SACKS Out of gallery I've loved photography since I was a little kid - I remember finding a book on photography around the house and then carrying it around with me. Because I was too young to read I would just look through the pictures over and over. I've always loved the idea of being able to stop a moment in time and keep it forever. With street photography I enjoy finding the awesome in the everyday and often overlooked scenes and objects. Most of my work is shot around Central London - Soho, Chinatown and Greenpark. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm X-H1 WEBSITE http://www.darrensacks.com @SACKS FEATURES // Soho Shadows Out of gallery

Self-taught photographer, I see my camera as a trusted travel companion. Together, we journey through the world, capturing the deeply sensitive while remaining attuned to the echoes of the uncanny. The enigma of identity lies at the heart of our work — a practice that has been featured in festivals, collective exhibitions, and publications, both online and in galleries. We are particularly drawn to the creation of nomadic images: photographs that can stand alone, belong to a constellation, or migrate into different visual intimacies. Alongside my visual practice, I’ve spent nearly 12 years as a clinical psychologist, with articles published in psychoanalytically oriented journals, often drawing inspiration from the world of art. A bit more about me: Since I began my journey in photography two and a half years ago, two phrases have taken shape in my mind: “My camera is a mouth that devours everything” and “I move freely through the world like a lucky child in a mother’s arms.” I listen to these phrases and follow their breath, not knowing where they might take me. I hope they lead me ever closer to a place of pure sensation, beneath the rational thought of the ego. ANTON BOU Self-taught photographer, I see my camera as a trusted travel companion. Together, we journey through the world, capturing the deeply sensitive while remaining attuned to the echoes of the uncanny. The enigma of identity lies at the heart of our work — a practice that has been featured in festivals, collective exhibitions, and publications, both online and in galleries. We are particularly drawn to the creation of nomadic images: photographs that can stand alone, belong to a constellation, or migrate into different visual intimacies. Alongside my visual practice, I’ve spent nearly 12 years as a clinical psychologist, with articles published in psychoanalytically oriented journals, often drawing inspiration from the world of art. A bit more about me: Since I began my journey in photography two and a half years ago, two phrases have taken shape in my mind: “My camera is a mouth that devours everything” and “I move freely through the world like a lucky child in a mother’s arms.” I listen to these phrases and follow their breath, not knowing where they might take me. I hope they lead me ever closer to a place of pure sensation, beneath the rational thought of the ego. LOCATION Montreal CANADA CAMERA/S Fuji GFX-50sii @SPINNINGTOSUBLIME FEATURES // It Started as Light ... Ended in Shivers ...