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We exist in a present where photography is as accessible as it is conditioned. Accessible to everyone at the touch of a cell phone but restricted in many contexts to those who want to use it in the shared space as a form of artistic expression. Based on this dichotomy, I search in the commonplace of everyday life for a voice that many times echoes beyond the expressiveness of a face; a search for notable physical expressions, as well as places' identity details, seeking to establish words capable of awakening emotions and imaginary (and imagery) interpretations in external observers, usually keeping the identity and intimacy of those portrayed intact. The result of this balance between technique, emotion and delicacy is the creation of an ambivalent language dictionary, as complex as it is simple, which oscillates between light and shadow, geometry and emptiness, being and its outer contour, the concrete and distortion; between what remains immutable and what continues under construction; between freedom and repression. As an existential metaphor, this dictionary continues its quest for permanent growth and mutation, in the hope that one day it will become extinct or transformed into a grammar that, complete in itself, forms part of the universal language of images of the present in which we exist. The present where photography is as accessible as it is conditioned, and therefore needs dictionaries. ELSA ARRAIS We exist in a present where photography is as accessible as it is conditioned. Accessible to everyone at the touch of a cell phone but restricted in many contexts to those who want to use it in the shared space as a form of artistic expression. Based on this dichotomy, I search in the commonplace of everyday life for a voice that many times echoes beyond the expressiveness of a face; a search for notable physical expressions, as well as places' identity details, seeking to establish words capable of awakening emotions and imaginary (and imagery) interpretations in external observers, usually keeping the identity and intimacy of those portrayed intact. The result of this balance between technique, emotion and delicacy is the creation of an ambivalent language dictionary, as complex as it is simple, which oscillates between light and shadow, geometry and emptiness, being and its outer contour, the concrete and distortion; between what remains immutable and what continues under construction; between freedom and repression. As an existential metaphor, this dictionary continues its quest for permanent growth and mutation, in the hope that one day it will become extinct or transformed into a grammar that, complete in itself, forms part of the universal language of images of the present in which we exist. The present where photography is as accessible as it is conditioned, and therefore needs dictionaries. LOCATION Leiria PORTUGAL CAMERA/S Leica Q2, Fujifilm XH2 and Fujifilm XT20 @ELSA.ARRAIS FEATURES // 18 >> 20

I find immense fascination in the everyday tapestry of life, where I uncover meaningful narratives by borrowing expressions from those around me, capturing raw and unscripted moments. Then, I stumbled upon the art of street photography. With my camera as an extension of my vision and my motivation to observe, I weave stories from chance encounters, blending them with the extraordinary photographic experiences born of happenstance. Despite my daily eight-hour work schedule, my day job and my passion for street photography have found a harmonious coexistence. Street photography infuses vibrancy into my ordinary existence. The more I immerse myself in the craft, the better I become as a person, even in navigating the day-to-day decisions at work. It serves as a wellspring of inspiration, propelling my growth and improvement. ROWELL B. TIMOTEO I find immense fascination in the everyday tapestry of life, where I uncover meaningful narratives by borrowing expressions from those around me, capturing raw and unscripted moments. Then, I stumbled upon the art of street photography. With my camera as an extension of my vision and my motivation to observe, I weave stories from chance encounters, blending them with the extraordinary photographic experiences born of happenstance. Despite my daily eight-hour work schedule, my day job and my passion for street photography have found a harmonious coexistence. Street photography infuses vibrancy into my ordinary existence. The more I immerse myself in the craft, the better I become as a person, even in navigating the day-to-day decisions at work. It serves as a wellspring of inspiration, propelling my growth and improvement. LOCATION La Union PHILIPPINES CAMERA/S Fuji Xpro2, Fuji XA3, Realme 6 pro smartphone @ROWELLTIMOTEO @ROWELL.TIMOTEO.7 FEATURES // Urban Echoes

MOMENTS FROM THE STREET From his moments out on the street, Jonas Welten wants to capture the essence of the anonymous person, searching for that unspoken truth. MOMENTS FROM THE STREET June 1, 2022 INTERVIEW PHOTOGRAPHY Jonas Welten INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE From the moment he picked up a camera, Jonas Welten has been captivated by the art of street photography. With an eye for beauty and inspired by the human soul, he strives to capture the essence of the anonymous person, seeking to uncover a deeper, unspoken truth. As an educator, part-time student of psychotherapy, and autodidact photographer, Jonas is determined to pay homage to the masters who have come before him while expanding the boundaries of this incredible art form. Growing up with artistic parents, photography has been a passion of his for as long as he can remember. Now, after three years of honing his craft, Jonas is ready to share the unique vision of the world he has discovered through his lens. “I make these photos primarily for myself. It brings me joy and I feel honored if someone likes them, but that isn't my main focus. I am driven by the possibilities of taking photographs, the surprise of discovering - or stumbling over - new unexpected situations.” IN CONVERSATION WITH JONAS WELTEN THE PICTORIAL LIST: Jonas please tell us about yourself. What draws you to photography and art? How did your journey into photography begin? JONAS WELTEN: I was born and raised in Salzburg, Austria (Mozart was born here!😉) I still live in Salzburg, with my beautiful girlfriend. I studied educational science and am currently working in an elementary school as kind of a social worker. I also study Psychotherapy, and if everything works out I will be working as a counsellor in a few years. My parents, and especially my mother was and still is a great art enthusiast, with the focus on visual arts and classical music. My father, who has been retired for quite some time now, was a filmmaker. I’m very much a movie buff, from rather mainstream movies to abstract art house films and the classics. I used to make photographs when I was in my teens/early twenties, I also took part in a photo workshop, but I didn’t really get deep into photography until about 3 years ago, and the technical side of taking photos never interested me, I’m not good at it, and, for my type of photography I find it not that important. Maybe I’m just a little bit lazy, and trying to find an excuse, for not learning the tech stuff 😁. Anyway, I then got an old DSLR from a friend and experimented, inspired by some artists on Instagram, mostly street photography stuff. That’s how my journey into photography began. And I’m still very enthusiastic about the art. TPL: How have the streets and culture you capture influence your photography? JW: I was - and still am - a big rap and hip hop fan, mostly mid 90s USA stuff. As you may know rap originated from the streets, and I mostly like the rough, gritty stuff. Also, the other genres never really do it for me, for example portrait, wild life, landscape or wedding photography. I started with my cell phone, and especially loved two things about that - I always carry it with me, so I'm ready to shoot always; and, important for street photography, it's subtle and people don't really recognise being photographed, thus you can get candid, “real life ” shots, where nothing is staged. A lot of unexpected situations and scenarios come up. Before you go out, you never know what's going to happen. I learned to appreciate the spontaneous, - as Cartier-Bresson said, the “decisive moment”. Like, for example in my photograph of the man carrying a porcelain mannequin head through the streets, and his matter of seconds of recognising the scene to taking the shot. He was walking by a jewellery store, with headless mannequins in the shop window. It is these juxtapositions that fire my passion for street photography. TPL: Talk to us about your project “Moments from the Street” that you have submitted? Where did the inspiration come from? What do you want the viewer to experience and take away with them? JW: A lot of inspiration came from famous street photographers which I have discovered and researched on the web. Masters of the genre like Cartier-Bresson, Winograd, John Free, Diane Arbus, Vivian Maier or Robert Frank and an absolute genius who I adore, Fan Ho. Also, I always get inspiration from the movies. When I first saw “Some Like It Hot” by the Austrian(!) Director Billy Wilder, it blew me away. It was the beginning of a wonderful, life long love (or should say friendship) quote from Casablanca. Later I discovered Directors like Gaspar Noe, Lars van Trier, Tarantino, the Austrian filmmaker Ulrich Seidl, and others who are close to the circle of street photography and rap. I find they have a very authentic, rough, but also visually interesting and experimental drive in cinematography in their work. So over the course of a year after I “seriously” began with photography, I also started to appreciate more abstract, or stylised, sometimes staged, cinematic photography. My photos range from rough, black and white street, to rather clean, experimental cinematic shots, where I sometimes love to go crazy in post production with popping colours or even collages. Fun fact- as a young adult, I wanted to go to Film School in Vienna, but, for one or the other reason I didn't follow through and became a social worker and educator instead. A profession I too love. TPL: What do you want the viewer to experience? JW: Kind of a difficult question, I make these photos primarily for myself. It brings me joy and I feel honored if someone likes them, but that isn't my main focus. I am driven by the possibilities of taking photographs, the surprise of discovering - or stumbling over - new unexpected situations. But I would be lying if I want to make good shots that may make viewers think, or ones who just look good from an aesthetic viewpoint. TPL: Do you have any favourite artists and photographers? JW: Henri Cartier-Bresson, Garry Winogrand, Ansel Adams, John Free...to mention some of the classic street photographers. From the new generation I very much like artists who make cinematic stuff like Oliver Takac, David Sark, Cody Klintworth, i.Dauyu, Sammy Soju, and my Austrian photography buddy Mark Daniel Prohaska. Sorry to anyone I forgot to mention, there are too many great photographers out there. Fun fact - as a young adult, I wanted to go to Film School in Vienna, but, for one or the other reason I didn't follow through and became a social worker and educator instead. A profession I too love. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? JW: Oliver Takac. His cinematic style, his use of light and shadow, and colour is amazing. TPL: When you are out photographing - how much of it is instinctual versus planned? JW: 99% instinct. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? How much post-processing do you do? JW: Not really. I also shoot a lot with my iPhone, alongside my (old) Nikon D3000. As post-processing goes, it varies. I use Photoshop, but also mobile apps like Snapseed. For my street shots I usually don’t do a lot of post-processing, more for my abstract/cinematic shots; sometimes I go nuts, but usually I lay my focus on composition and a subject that catches my eye. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? JW: I would love to have some photographs exhibited, and of course I’d like to sell some stuff. But most of all I’d like to make a lot more pictures, that I consider as cool shots, shots I’m content about. I won’t quit my day job, the perfect situation would be being part time therapist/part time photography artist. But I won’t stop shooting if that doesn’t work out. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JW: No, as I don’t really plan my photography. But everybody reading this is very welcome to check out my Instagram. I’m also really happy about feedback. Of course I sell prints of all my photos, and am ambitious to connect with other photographers, to chat and maybe collaborate on projects. TPL: “When I am not out photographing, I (like to)... JW: Spend time with my girlfriend, my friends and family, watch movies, read books, and focus on my education.” Thank you for the opportunity. I’m honored to be published on your magazine. Much love! 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.

These are a collection of images which I have put together from my last trip before lockdown. I was in India for the festival of Holi. I chose them because they reflect the feel of something magical that the people and places of India inwardly possess. It makes me feel joy. My photography is my escape just unfortunately not my career. I have studied it both practically and academically. I have worked for photographers and others that use imagery to compliment their work, but I have a family so my photography is my companion that just bubbles away beside it all. These images come from a workshop I attended with my mentors. They are my friends fundamentally and two brothers who are phenomenal Indian street photographers - Vineet and Rohit Vohra. My approach has always been towards portraits and documentary and so I am enjoying the details which ‘street’ illustrates and I'm now applying it to my train of thought and process. CATHERINE NAYLOR-LEYLAND These are a collection of images which I have put together from my last trip before lockdown. I was in India for the festival of Holi. I chose them because they reflect the feel of something magical that the people and places of India inwardly possess. It makes me feel joy. My photography is my escape just unfortunately not my career. I have studied it both practically and academically. I have worked for photographers and others that use imagery to compliment their work, but I have a family so my photography is my companion that just bubbles away beside it all. These images come from a workshop I attended with my mentors. They are my friends fundamentally and two brothers who are phenomenal Indian street photographers - Vineet and Rohit Vohra. My approach has always been towards portraits and documentary and so I am enjoying the details which ‘street’ illustrates and I'm now applying it to my train of thought and process. LOCATION London UNITED KINGDOM CAMERA/S Canon EOS 2D mark ii WEBSITE http://www.indicacamera.com @CATNAYLORLEYLAND FEATURES // Joy and That Something Magical in India

Photography began for me as a deeply personal exploration, a way to find calm and meaning amid the challenges of life. It was a pause, a lifesaving deep breath. Over time, my path shifted. After the birth of my daughter and the deepening of my Christian faith, I came to see that my photography was no longer only about self-exploration, but about connection. My work now seeks to hold on to goodness and light, even in a world that often feels broken and disappointing. This philosophy extends into my role as project leader of Shining Hope, a photography-based learning program for children in rural Taiwan. Through it, I encourage young people to see with intention and express their experiences with honesty and care. My mission is to publish, explore, and educate, to provide freedom and bring influence to children in rural and underprivileged communities. JAY HSU Photography began for me as a deeply personal exploration, a way to find calm and meaning amid the challenges of life. It was a pause, a lifesaving deep breath. Over time, my path shifted. After the birth of my daughter and the deepening of my Christian faith, I came to see that my photography was no longer only about self-exploration, but about connection. My work now seeks to hold on to goodness and light, even in a world that often feels broken and disappointing. This philosophy extends into my role as project leader of Shining Hope, a photography-based learning program for children in rural Taiwan. Through it, I encourage young people to see with intention and express their experiences with honesty and care. My mission is to publish, explore, and educate, to provide freedom and bring influence to children in rural and underprivileged communities. LOCATION Yilan City TAIWAN CAMERA/S Canon 6D mark II, Ricoh GR3, iPhone 13 @JAY_HSU_CHENCHIEH FEATURES // Diptych Dialogues

Started doing street photography in 2014. One of the greatest things about Street Photography, for me, is that not only gives me the opportunity to work on my creative skills as a photographer, but also lets me satisfy my internal curiosity to discover the city from a photographer's point of view. Walking to places I’ve never been to before, merging human figures along urban landscapes never included in photographs before, it just fascinates me. ALEX GOTTFRIED BONDER Started doing street photography in 2014. One of the greatest things about Street Photography, for me, is that not only gives me the opportunity to work on my creative skills as a photographer, but also lets me satisfy my internal curiosity to discover the city from a photographer's point of view. Walking to places I’ve never been to before, merging human figures along urban landscapes never included in photographs before, it just fascinates me. LOCATION Buenos Aires, ARGENTINA CAMERA/S Olympus EPL5, Olympus EPL7 WEBSITE https://alexgottfriedbonder.wixsite.com/agbstreetphotography @ALEXGOTTFRIEDBONDER @RETRATOSCALLEJEROSBSAS FEATURES // Walking Buenos Aires

Originally from Australia and now based in London, I am an amateur photographer who has always enjoyed taking photos, but it was in 2017 that I discovered street photography. This almost instantly kick started my love of getting out and photographing the amazing city I live in as it was an artistic outlet I had been missing for a long time. This collection of images shows my love of light, shadow and reflections. I have always been drawn to them, so it made sense they would creep into my street photography. I am especially drawn to the interesting shapes that shadow and light create, as well as capturing the interaction of human beings, usually solitary or in silhouette, within their environment. BELINDA CORNEY Originally from Australia and now based in London, I am an amateur photographer who has always enjoyed taking photos, but it was in 2017 that I discovered street photography. This almost instantly kick started my love of getting out and photographing the amazing city I live in as it was an artistic outlet I had been missing for a long time. This collection of images shows my love of light, shadow and reflections. I have always been drawn to them, so it made sense they would creep into my street photography. I am especially drawn to the interesting shapes that shadow and light create, as well as capturing the interaction of human beings, usually solitary or in silhouette, within their environment. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm X-T2 WEBSITE http://www.belindacorney.com @BELLAJANE FEATURES // Lonely Urban People

I have only recently started shooting during my spare time when I am not in front of a computer working as security engineer, however, I immediately realised how much I was drawn to street photography. More specifically, I am fascinated by how meaningful and mysterious the representation of the human body can be, even within the simplicity of a silhouette. The images here in this portfolio are part of an ongoing project focused on the relationship between the human and the urban environment. TOMMASO CARRARA I have only recently started shooting during my spare time when I am not in front of a computer working as security engineer, however, I immediately realised how much I was drawn to street photography. More specifically, I am fascinated by how meaningful and mysterious the representation of the human body can be, even within the simplicity of a silhouette. The images here in this portfolio are part of an ongoing project focused on the relationship between the human and the urban environment. LOCATION London UNITED KINGDOM CAMERA/S Fuji X-T3, X-Pro 3, Ricoh GR III, IPhone 11 Pro WEBSITE http://www.gettons.org @GETTONS @GETTONS FEATURES // The Urban Relationship

LIGHT DIRECTION Stephen Simmonds lets the light direct him in his photography, seeking out the negative spaces and interesting shapes of London city. LIGHT DIRECTION March 31, 2020 INTERVIEW PHOTOGRAPHY Stephen Simmonds INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The power of photography to tell stories is undeniable; the ability to capture a moment and make it last, to evoke strong emotions, and to convey powerful messages is unique to this art form. Such an example of photography is the work of British photographer Stephen Simmonds. His work is strikingly minimalistic, with strong shapes and lots of negative space, and it is all the more remarkable considering he only started taking photography seriously two years ago. To capture his shots, Stephen spends his days walking to and from work on the streets of London, allowing the light to guide him as he searches for interesting compositions created by how light interacts with people and their surroundings. It is clear that Stephen has a natural eye for his craft, and he has created beautiful images that tell stories and evoke strong emotions. It is clear that for Stephen, photography is more than just a hobby – it is an art form that he is passionate about and one that he is rapidly mastering. For anyone interested in understanding the power of photography, learning more about Stephen Simmonds’ work is an excellent place to start. This is the real secret of life — to be completely engaged with what you are doing in the here and now. And instead of calling it work, realise it is play. – Alan Watts “I keep telling myself this…and I keep forgetting to do it.” IN CONVERSATION WITH STEPHEN SIMMONDS THE PICTORIAL LIST: Stephen, do you remember when you first became interested in photography? STEPHEN SIMMONDS: I guess my first experience of photography when I was around 10 years old, and my dad used to play around with a Canon SLR. He was pretty into it for a while and I remember how much he enjoyed it. In my adult life I've always been involved in image creation. Working as a motion designer for the last 17 years and art directing animated pieces for major global brands has meant that without realising, a lot of ground work in terms of lighting and composition, had already done before I'd even picked up a camera. However I finally picked up that camera, a Fuji XT20 with a true intent to take photography seriously, around 2 years ago. TPL: Where do you find your inspiration? SS: The regular hang outs - Instagram, YouTube etc. However recently my photography has taken on quite a graphic style and that can only come from my day job as a designer. TPL: Do you have a different style of photographing today than when you first started? SS: Massively, and partly because I have been discovering that style. I've been trying loads of stuff out. Landscape, macro, street. I've given it all ago. Recently I've discovered the joy of street photography but not in a classic sense. I guess I'm less interested by the people but more interested in what happens when people, interesting light and their surroundings interact. Simplicity is what I look for in my images. I like to use a lot of negative space to frame a subject or draw attention to something in the shot. TPL: Where is your favourite place to photograph? SS: Where I shoot is usually dictated by where my busy life puts me. I work in London and use my walk from train station to studio to take photos. This usually is from London Bridge to Farringdon. There are multiple routes you can take and you pass through some interesting places. I live out of town on the cusp of the countryside and find myself looking at more organic lines and less people at the weekends. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? SS: Yes and no. It's important in that you need something to take photos with. And obviously it's nice to have the best gear you can afford. It's not entirely necessary thou and great photos can be taken with any camera. However gear is fun and I'm not scared to say it. I love it when technology has a positive effect on creativity. For me these two things go hand in hand. It's all part of the enjoyment of photography. I primarily shoot my Fuji XT3 - I love Fuji’s approach to making cameras. Everything is so tactile and visual - you hardly have to touch the menus. I also use the Ricoh GR3 its so tiny and the image quality is outstanding, it makes having a camera on you at all times so so easy. Shoot as much as you can. I was told this when I started, so I did. Like most things the more you practise the better you get. It's really that simple. I feel like I have a long way to go yet and loads to learn. We all just need to keep shooting. Always have your camera on you. Be patient and let the light tell you where to point your lens. 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: Nothing more than a desire to create. Anyone could become a photographer if they wanted too but those with a desire to shoot, and a true enthusiasm to freeze time will become great photographers. (Oh and a tonne of patience). TPL: Have you ever been involved or part of the arts? SS: I'm the co-founder and creative director of a motion design studio called weareseventeen and have been for 14 years. Before that I studied motion design at university in London. Luckily I've only ever been involved in creative endeavours. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SS: Favourites would include Jonas Rask, Sean Tucker, Rachael Talibart, Joshua K Jackson and Craig Whitehead. There is also a guy in the states who goes by the name of @professorhines, he's awesome. I take influence from all of these and more. Rachel Talibarts approach to photography resonates with me and despite our subjects and styles being completely different, I like the way she lets the photos she's taken sit for a while before she decides whether they are portfolio worthy. This makes a lot of sense to me...because my photos always seem to look different when I look at them a second time. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SS: Not really but the thought of being more focused with my photography is appealing. I set myself micro projects all the time…for example “today is all about diagonal lines” So some kind of more long term project is something I'd like to focus on. Printing photos is my number one goal at the moment. A printed photo feels so special. It feels finished. I recently attended the ;My London' exhibition and seeing the printed photos on the walls really inspired me to print more. TPL: "If I wasn't photographing what would I be doing?... SS: Running around after my kids and dog and begging my wife to let me go out and take some photos. 😉" 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.

A native Brooklynite and living in Manhattan for many years, I have been photographing New York City since the dawn of the 1970s. Wandering the streets with my cameras, I consider myself an urban observer. I try to capture the city’s environment — structures, signs, and, most of all, the fleeting moments of people on the streets that will soon disappear into thin air. JEFF ROTHSTEIN A native Brooklynite and living in Manhattan for many years, I have been photographing New York City since the dawn of the 1970s. Wandering the streets with my cameras, I consider myself an urban observer. I try to capture the city’s environment — structures, signs, and, most of all, the fleeting moments of people on the streets that will soon disappear into thin air. LOCATION New York UNITED STATES CAMERA/S Nikkormat FTN, Nikon F2A/F3HP, Canon Powershot P&S, Olympus XA WEBSITE https://www.jeffrothsteinphotos.com/ @JEFFROTHSTEINPHOTOS FEATURES // Gotham Memories: New York City (1969-2022)

So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. JELISA PETERSON So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. LOCATION Texas UNITED STATES CAMERA/S Canon Eos Rebel and Canon Eos 50D WEBSITE https://jelisapeterson.com/ @JELISAPETERSON FEATURES // Into Africa

IN MEMORY OF AARON RUBINO We have the great pleasure of highlighting a photographer's work that has been tucked away, and hiding in the shadows, being cared for by a friend. Recently they were offered to Gary Nolan. They trusted Gary to keep them safe and shed some light on Aaron Rubino’s photography and respect the memory of his friend. Aaron Rubino's youngest daughter has graciously shared her heartfelt sentiments about her father's legacy: Aaron Rubino worked as a professional photographer in the 1930’s through the early 1950’s. For some time Mr Rubino worked with the Associated Press in San Francisco. And subsequently joined the staff of the San Francisco Chronicle where he worked until the early 1950’s. During World War II, Mr. Rubino was in the 6th Army stationed in the San Francisco Presido where he served as a base photographer. After WWII, Mr Rubino was assigned to photograph the United Nations meetings in San Francisco. "As for rewards – my father told me that he won a prize for Cigar Photo of the year. It was a picture of Pierre Salinger, whom my father worked with in San Francisco. Mr Rubino was a very close friend with Joe Rosenthal. Mr Rosenthal was Mr Rubino’s superior at the AP and they remained good friends until their deaths. Mr Rosenthal gave me a photo of the raising of the United States Flag on Iwo Jima – the same photo that won Mr Rosenthal the Putlitzer Prize. I am still in contact with Joe’s daughter, Anne." Read the full story by Gary Nolan through the link below. AARON RUBINO IN MEMORY OF AARON RUBINO We have the great pleasure of highlighting a photographer's work that has been tucked away, and hiding in the shadows, being cared for by a friend. Recently they were offered to Gary Nolan. They trusted Gary to keep them safe and shed some light on Aaron Rubino’s photography and respect the memory of his friend. Aaron Rubino's youngest daughter has graciously shared her heartfelt sentiments about her father's legacy: Aaron Rubino worked as a professional photographer in the 1930’s through the early 1950’s. For some time Mr Rubino worked with the Associated Press in San Francisco. And subsequently joined the staff of the San Francisco Chronicle where he worked until the early 1950’s. During World War II, Mr. Rubino was in the 6th Army stationed in the San Francisco Presido where he served as a base photographer. After WWII, Mr Rubino was assigned to photograph the United Nations meetings in San Francisco. "As for rewards – my father told me that he won a prize for Cigar Photo of the year. It was a picture of Pierre Salinger, whom my father worked with in San Francisco. Mr Rubino was a very close friend with Joe Rosenthal. Mr Rosenthal was Mr Rubino’s superior at the AP and they remained good friends until their deaths. Mr Rosenthal gave me a photo of the raising of the United States Flag on Iwo Jima – the same photo that won Mr Rosenthal the Putlitzer Prize. I am still in contact with Joe’s daughter, Anne." Read the full story by Gary Nolan through the link below. LOCATION San Francisco UNITED STATES CAMERA/S mostly likely a 4x5 Speed Graphic or similar @_PHASE33 FEATURES // The Resurrection of Rubino