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DAILY Italian visual artist Giorgio Gerardi wanted to represent everyday objects and decontextualise them, giving them their own assumed identity. DAILY April 1, 2022 INTERVIEW PHOTOGRAPHY Giorgio Gerardi INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Life can be a little like autopilot at times. We get so used to the same objects being around us that it almost becomes background noise. There's no denying that it can be easy to feel like we're missing out on the little details that make life special. Italian visual artist Giorgio Gerardi was determined to change this. He wanted to take notice of the banality in his surroundings and to bring it into focus. What he ended up creating is something truly remarkable. Giorgio was born in Mestre, not far from Venice, and eventually moved with his family to Favaro Veneto. A lover of art, he set out on a personal journey using a camera as his guide. With a fascination for clouds, leaves, earth, sand, and everyday objects, Giorgio began his project 'Daily'. Through this project he wanted to decontextualise these everyday objects and give them an individual identity and a new creative life. Weaving together shapes and colours in an unexpected way, Giorgio has created something visually stunning - something that will transport you away from the autopilot of daily life and into a world of creativity and beauty. Keep reading to find out more about Giorgio's journey and the fascinating results of his 'Daily' project. “Every day we repeatedly use objects that we constantly have under our eyes. How many times do we open the refrigerator? How many times do we take the water bottle? On a daily basis, we are always surrounded by the same things; we are so used to their presence that we no longer notice them, we no longer see them; even if our eyes rest on them, we do not notice them and it is as if we do not see them.” IN CONVERSATION WITH GIORGIO GERARDI THE PICTORIAL LIST: Giorgio please tell us about yourself. GIORGIO GERARDI: I was born in Mestre in 1953, few kilometers away from Venice, and I lived there for many years, until I recently moved to Favaro Veneto with my whole family. When I was younger, I tried to enter the professional world of photography, which has always been one of my biggest passions, but the journey would have been too long and I wanted to be independent straight away and have a family. I have worked most of my life in the credit sector, and I had to limit the amount of time for cultivating my interests, given that my spare time was mostly dedicated to my wife and raising my kids. A couple of years ago I retired and I am now finally able to fully devote myself to what I did when I was 20/27 years old, taking back the old projects of mine. TPL: How did you get involved in photography? What is it that is so special to you? GG: When I was a child, I received a camera as a present, which to me at the beginning represented a way to close reality within a frame. Around the age of twenty I started my own research; I was struck by the avant-garde of the 19th and first half of the 20th century, and by the research of photographers such as Man Ray, László Moholy-Nagy, Ugo Mulas, Franco Fontana, Luigi Ghirri. Moreover, I was interested in the artistic currents of Minimalism and Conceptualism. All of these experiences interested me mostly because they focused on the analysis of the photographic medium, its language and on the search for new forms of expression, new compared to the tradition. As typical in the spirit of the avant-garde, they were much closer to a discourse relative to the analysis of the visual instrument rather than to the staging of reality, to its representation, as the history of photography had instead accustomed us. It is not for nothing that Man Ray was part of Dadaism and Surrealism, and László Moholy-Nagy of the Bauhaus. TPL: What is the story behind your project DAILY? What inspired it and when did it begin? What do you want the viewer to experience and take away with them? GG: The project was created precisely to stage everyday objects; I photographed ordinary items, an unmade bed, the inside of a refrigerator, a dishwasher, trying to highlight certain details by extracting them from their context, to make them almost take on a life of their own, their own identity. I drew heavily from the Hyperrealist current, born after Pop Art in the second half of the past century, and in which detail assumes great importance. But I was also influenced by the concept of "ready made", where an object of common use is isolated from its context to be perceived as a work of art, in Duchamp's style. I wanted and I want the viewer who looks at these images to be able to “see” the represented subject, to perceive it in a different way than how he experiences it every day. I hope I have succeeded, at least in part. TPL: Can you explain your post-processing work to get to your final image. When do you know you have finished an image? GG: In the DAILY project, the important thing for me was trying to obtain images that were as neutral and aseptic as possible, which would highlight the details of the photographed subjects. In working these series, I pushed the contrast to the maximum by playing on curves and colors. I finish my work when I feel satisfied with what I have done, when the image has shapes and colors that satisfy me and in these series I was interested in highlighting details of everyday objects, as well as trying to treat them with a technique that came as close as possible to the style of Hyperrealism. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GG: In regards to photography, I believe that in a previous answer I already gave a broad idea of the artists who interests me, and these are Man Ray, László Moholy-Nagy, Ugo Mulas, Franco Fontana, and Luigi Ghirri. But the beauty of art of course is not limited to what we see, but it also extends to what we can hear and listen to. I do love music and I would say that among my favorite musicians there are Philip Glass and Terry Riley. I may even add that their music influenced my artistic formation; repetition is a constant in their works, repetition alternating with continuous and slight diversities, which make repetition itself mutate, change, while remaining "repetition". I wanted and I want the viewer who looks at these images to be able to “see” the represented subject, to perceive it in a different way than how he experiences it every day. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? GG: I would spend a day with the Italian photographer Franco Fontana, to talk and not to take pictures, so that he could tell me about his experience and how he lived the photographic medium and the images he managed to take. I've always liked the way he portrays the landscape, which is both classic and abstract and minimal at the same time. I think that his images, taken from the Seventies, marked an important step in the history of photography. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? GG: I don't use any particular equipment; I have a Canon Eos 550D with a focal length of 18-55 mm, with which I take 90% of the images, and I also use my Xiaomi Mi T9 mobile phone. The main part of my work is focused in post-production, and therefore in the use of digital graphics programs, especially Photoshop and Gimp. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GG: My main goal is to make my work known to an ever-growing audience, and slowly I manage to get published more and more often in magazines and on web pages. I hope to be able to continue on this path for other five years from now and even more. I also hope to be able to reach the world of galleries and interior designing, so that I could hang some of my images in private and public spaces. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? GG: Lately I've been working on the 'Details' project; one of the first series was 'Fireplace'. In these last series it is hard to even recognise the original subject, as the detail takes a life of its own. What interests me is not a mere representation of the real object; I want the result to be a set of shapes and colors that I like. TPL: When I am not out photographing, I (like to)... GG: I like to take long walks, I like to read, especially art history books; I also love listening to music as you might have guessed from a previous answer of mine. 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.

NEW REALITIES IN VISUAL POETRY Enter Monika Jurga's surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. NEW REALITIES IN VISUAL POETRY March 31, 2023 INTERVIEW PHOTOGRAPHY Monika Jurga INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Monika Jurga is from Poland, living in different areas, from East to West, while residing for a while in the capital, Warsaw. Monika does not work as a professional photographer, giving her the freedom to explore the photographic world in her own artistic ways. She creates uninhibited by the pressures of producing her work for anyone but herself. She is not burdened with photographic equipment, and often her phone is the catalyst for capturing what is in her mind's eye. Monika’s images are playful, toying with exaggerated surreal elements, juxtaposed to photographic visual clues based in reality. She ignites the imagination, asking the viewer to embrace the bizarre, captivating them to enter her world, where the traces of reality are blurred and fantasy becomes the new reality. Monika is a visual storyteller, who finds unique ways of defining the world around her, where anything she can imagine becomes the inspiration that drives her work. She has been described as a “Visual Poetess” translating her imagery into poetic prose. We have the pleasure of presenting the work of Monika Jurga. Enter her surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. “Telling stories is what is important to me, because I think to myself that one life is not enough, so I live my life in my stories. When people say that they find themselves in my stories, that they are their stories too, it makes me very happy.” IN CONVERSATION WITH MONIKA JURGA THE PICTORIAL LIST: Hello Monika, please tell us about yourself. MONIKA JURGA: I am from Poland. I do not do photography professionally. Sometimes what I do can hardly be called photography at all. Even my camera is not a camera “Sensu Stricto”, because it is mostly just a cell phone. All that I do is just a hobby. The nicest and most beloved hobby in the world! TPL: What would you say first drew you to photography? What is it about the medium that supports your work? MJ: I grew up in a house full of art. An artist dad and a mom, a woman full of imagination. I was surrounded by paintings, drawings, lots of albums and books on art. My two uncles had photographic ateliers, my aunt meticulously documented my childhood on slides, and my mother developed color films herself in a small bathroom. Something must have grown out of that. I got my first camera when I was 8, but to be honest, I wasn't attracted to it then. I'm not sure what exactly attracted me to photography but I think it was my inability to draw combined with the desire to express myself and show my world...and that's how it started. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? MJ: I find it difficult to describe my photographs. Each work is different, because I have a thousand ideas and a thousand ways to express them. In the end it is what satisfies me. I am not trying to achieve anything artistically. I would not dare to call myself an artist. I go my own way and I'm very happy that someone likes my works, that someone can relate with it. That's very nice. TPL: Monika, your work has a surreal aesthetic, can you describe the creative process involved with the capturing of your photographs, and then the inspiration you find in editing them? MJ: The creative process looks very different. For sure, it always starts with a photo and then I play with textures, overlays, make collages, add-on, cut, peel and stick, mix and mix for so long, until something that I like appears. And so, from an ordinary photo a picture or a whole story is made, often surreal. TPL: How have you trained your eye to see the surreal world you portray, making references to reality, emphasizing everyday objects? MJ: This kind of looking is due to my parents, home, books, paintings, exhibitions, thanks to which I have a kind of sensitivity that helps me see more sometimes. Despite my chaotic nature, I am very attentive, both to people and to everything around me, even the simplest objects. TPL: What importance does storytelling or key themes hold for you? MJ: I tell these stories mostly to myself. It often happens that I do a very cheerful and bright job when I am sad and would preferably not get out from under the blanket, and vice versa, when I am gushing with happiness, I do something gloomy. It's all about balance. In my photo bag is: wallet, keys, raspberry lipstick and of course...cell phone because it is my current camera. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? MJ: I have many favorite artists. Sometimes I worship their entire oeuvre, sometimes it is one tiny picture, a few sounds, a few gestures or a detail that impressed me at different stages of my life. I will try to list them in one breath: Klee, Miró, Chagall, Hundertwasser, Eliasson, Zaha Hadid, Lewis Carroll, Leiter, Bruno Schulz, Roy Andersson, Kafka, Calvino, Maria Anto, Steinberg, William Blake, Ueda, Konopka, Batsheva Dance Company, Quay, Koudelka, Narahara, Wes Anderson, Woodman, Satie, Ballen,...uff, I could go on listing like this until tomorrow! TPL: What’s in your camera bag, is your equipment an integral part of your practice? What software do you use to process and visually render your compelling imagery? MJ: In my photo bag is: wallet, keys, raspberry lipstick and of course...cell phone because it is my current camera. My cameras have always been small and did not require special bags, because they used to be either matchbox cameras or Holga medium format, and Lomo, Lomography cameras. In my house, of course, there are the truest and most diverse cameras but I don't touch them, because they are not necessary for me. On the other hand, if I have to talk about software then there is more. I use a lot of programs and applications, but I will let their names remain my sweet secret. I use these programs depending on the need, and as I mentioned I mix and match. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? MJ: At the moment I am working on the project “Light”, for which I was invited to Amsterdam. It's a big challenge for me but slowly the ideas are coming out of the shadows, brightening up and heading towards “Light”. I hope that by the end of May everything will be clear. I don't have specific photographic goals, I let it all flow. Where would I like to be in 5 years? You'll probably be surprised, but in 5 years I'd like to be exactly where I am, because I feel like this is my happy time and happy place. TPL: If you could just choose one photographer or artist to shoot or collaborate with for a day...who would you choose? And why? MJ: I have so many favorite photographers that I could spend each of the 365 days of the year with each one separately but yes most, most, I would like to wander around the city with Ms. Eva Rubinstein. She is my great love at the moment and I think we would have a great time together. TPL: What is the most rewarding part of being a photographer for you? MJ: What I enjoy most are the kind words and gestures and the emergence of a kind of bond and understanding between us. That is the nicest thing! TPL: “When I am not out photographing, I (like to)… I like London fog, traditional Jewish songs, Czech films, Scandinavian crime stories, French language, Spanish spring, Portuguese wine, Norwegian fjords, Breton pancakes, Scottish tartan and Italian ice creams, but most of all, I love traveling the world.” 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.

PICTORIAL STORY DISAPPEARING IRELAND June 19, 2020 PICTORIAL STORY Photography and story by David Gilbert Wright Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link David Gilbert Wright is a British documentary photographer with family connections in Ireland. His travels have repeatedly taken him to the Irish countryside. In the 1980s and 1990s, David found scenes that appear like a throwback to a much earlier period, stories and places that show tradition, change, and also the sometimes difficult realities of life in Western Ireland at the time. For this photo reportage, David to talks to The Pictorial List about his own experience and impressions, and about the stories behind the pictures. David photographed all images in this story on an analog Pentax KX using Ilford FP4 film and then made a silver print from the negatives. The photographs for this series were taken on the west coast of the Republic of Ireland (Eire) in the 1980s and 1990s. I produced a number of photo stories prior to embarking on what was to be one of my longest projects to date – Disappearing Ireland . It began as my response to a culture that seemed to have been frozen in the 1950s. Gradually, I began to notice that foreign investment was causing a change. I could see that the rural communities of the west of Ireland would succumb to the juggernaut of progress. So I set out to document those communities to help my sons understand something about their heritage. Little did I know then, that this body of work would go beyond that goal and capture the imaginations of many people from around the world who either had their own roots in Ireland or who just loved to find out more about such an interesting culture. A photograph is a slice of time. It has a ‘before’ and an ‘after’. We have come to know this through our own use of photography. It can never capture everything that unravels in front of us. Furthermore, photographs are paradoxical objects in that they remind us of the presence and absence of something. In that respect, they can become melancholy objects. The photographs of previous generations remind us of our mortality. How can photographs be so powerful? After all, they are only the result of light falling on a recording medium. They have no power on their own, they rely solely on our ability to make sense of them. We provide the interpretation. We give them a ‘before’ and an ‘after’. We literally create the story around a picture based on our personal experiences and knowledge. So, my series Disappearing Ireland provides glimpses of such a slice of time. It is a story of a culture at the end of the last Millennium. The series opens with a picture of a large cross mounted on a rough dry-stone pillar with the sea and sky in the background. It is a metaphor for the strength and power of the Roman Catholic Religion in Ireland. The series then goes on to explore some of the themes important to the people in that community – family, age, work, entertainment, transport and religion. Each photograph has both its own story and is also connected to the lives of the people in those communities and the people who have left and formed part of a larger diaspora around the world. That includes members of the family I married into. In this respect, it becomes a story told by someone who is both inside and outside of the community. Nevertheless, the Irish lived up to their reputation of being extremely welcoming, friendly and generous. The Roman Catholic religion was central to the lives of the Irish people for centuries, but the end of the second millennium saw changes. The village priest had been a key figure in the community. He provided more than spiritual guidance, he was present at all the key points of life - birth and baptism, making Holy Communion, marriage and death. He was there to receive confessions, offer solace, head up the catholic school and bless the homes of people when they moved in. The priest was a binding agent in the community. However, his role was to diminish as people questioned the purpose of religion. Ireland was modernising and by so doing, losing fundamental aspects of its Irishness. The picture with the village priest brings together two of the themes of this series - childhood and religion. The photograph was taken in the little village of Kinvarra, just south of Galway, in 1988. The priest is presiding over a public event. A remarkable scene, and typically Irish with its rain! The following picture is a story about a boy at the fairground in Co. Galway, which I call 'Time to have fun!'. It not only positions the photograph in time but also comments on the difference and similarity between the English and Irish: It was 1988 and hedonism was the name of the game in England. Yuppies strutted around the new Docklands financial development in London in their sharp suits, new mobile phones, padded shoulders and brash attitudes. Money was spent liberally on flash cars and alcohol in the newly opened wine bars. There couldn't be more of a contrast to the scene in this photograph. Although the words on the van invite people to have fun, the reality I saw was one of a decrepit bygone age. The ground is littered and the boy is dirty and wearing a cheap, grimy vest. And, what is he doing? Is that his idea of fun? To me he looks miserable. Two worlds, sharing the same language, a similar culture, geographically so close, but what a contrast. The series has several examples of how I go about taking photographs. In most cases, I only expose one or two frames unless it is a portrait session. Cartier Bresson called this “The Decisive Moment”, and I am a great believer in this. The picture entitled Assumption Day is an example of this. The Feast of Assumption is very important in the Catholic religion and also in Ireland. It marks two events, the departure of Mary from this life and the assumption of her body into heaven by God. So there I was on the 15th of August, finding myself at an outdoor celebration of this event. I was standing at the back when this boy looked round. To shoot at the decisive moment, you must know intuitively when to take the photograph. In this case, I met the boy's gaze, knelt down to his eye-level and took just one exposure. The result was poignant. This picture also continues the theme of children and religion. The boy's expression and body language of hands in pockets foreshadows the turning away from the Church. As the millennium drew to a close, the importance of religious belief in the Irish consciences waned. Was it replaced with something better? That will be a question only the people of Ireland will be able to answer. I used an analog camera for all these pictures. There is a psychological concept at work during the process of using film to make photographs. It is delayed gratification. You have to wait to see the results of your labour. This is rather old fashioned in our consumer driven world where you can have it now and pay later. It means that you have to make sure you get it right in terms of framing, focus, lighting, exposure, and processing. Modern cameras remove these concerns through their automation but in so doing, they have also removed some important aspects of photography including technique, choice and control. Ansel Adams wrote extensively about “previsualisation”. This is the ability of the photographer to be able to translate what s/he sees into two dimensions and black and white. He also describes how the sensitivity of film will only allow a fraction of the contrast range to be recorded. Therefore, the photographer has to decide where to position the exposure. The photograph of the pilgrims descending Croagh Patrick is an example of this. The exposure needed to allow the detail of the bare-footed people to be clear. They climbed this rocky mountain as an offering to God. Placing the exposure in that position would have rendered the sky completely white and lost the dramatic, overcast rain clouds. A compromise had to be made and then rectified during the printing stage. During my travels through Ireland I met several people who I had fleeting acquaintances with as we passed through their lives. For example, the farmer couple Tom and Sheila: Reaching Sheila and Tom's farm was no easy matter. We had to drive down a long, straight 'boreen'. Very little traffic went that way. You could tell by the grass growing all the way down the centre and branches of the hedgerow growing out into the track. Sheila was one of Paddy's sisters. They had worked the small farm for a number of years. We were staying for dinner, but Sheila realised the orange squash had run out, so she sent Tom off to buy some. I went with him. I offered to drive but he wanted to take me, so I went round to the passenger side of his car. He had to open the door from the inside. I pulled it open to discover there was no seat. "Get in then" he called. So, I sat on the floor where the seat had been. Trundling along for miles across the bog, we eventually reached a tiny village store similar to those I had seen in Co. Clare. We picked up the groceries and the return journey began. It's an odd experience sitting down low on a car floor looking up at the driver and trying desperately to peer over the dash to see where we were going. I can see why cars have seats. It was the ride of my life! When I suggested taking a photograph they went and got their goat! Another interesting story is that of the Irish Travellers. If you take the road out of Kinvarra and head south, you will come to Co. Clare. There is a dry-stone wall that begins in a field and goes halfway up the hill and then suddenly stops. I wondered what it was for, because it doesn't enclose anything. I later found out that during the Irish Potato Famine, families were forced out of their homes by absentee English landlords and had to tramp the roads in search of handouts. One generous landowner hired some of the wanderers to build the wall so they would receive help without having to lose self-respect. The famine was unnecessary because there was plenty of grain being harvested, but it was being bought up and exported. Over a million Irish died of starvation and another million were forced to emigrate. In Co. Clare I encountered this modern-day equivalent of the 'Irish travellers'. I came across a small encampment and a young family. For those who remember the New Age travellers of the 1980s, here was a living example, complete with original caravans and a number of horses. They travelled the roads, free and happy living simply and picking up the odd bit of work when they could. They were a long way from the starving, homeless wanderers of the 1840s. Theirs was a lifestyle choice. But what wonderful, colourful characters. Knockgarra or 'Nogra' is a tiny little cluster of only three cottages. Two are farms and the other is a store and pub. One of the farms belonged to Kathleen. One afternoon, I was standing outside when she came out, crossed to her cow that had been waiting patiently in the pen, and began milking. Nothing unusual about that, the locals of Nogra might say. But to 'outsiders' like us from the 'Mainland' it is a remarkable scene for the 1990s. Here was a middle-aged woman, down on her hands and knees milking a cow by hand into a zinc bucket. And if that's not unusual enough for you, she was wearing a pinny and in her curlers! Life in rural areas such as these is never short of a few surprises but this is her reality. © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright © David Gilbert Wright The Disappearing Ireland series is my ‘melancholy object’, because when I look at the pictures now, they remind me of what was and what is now lost forever. Much of it has personal importance as it includes members of the family I married into, places I became familiar with as I travelled with my family. The fallen cross serves as a metaphor for the things lost forever including the end of the Roman Catholic Church’s influence in Ireland. view David's portfolio Read an interview with David >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, 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.

THE HUMAN EXPERIENCE Kevin To creates images that are reminiscent of the golden days of street and photojournalism with a modern twist. THE HUMAN EXPERIENCE May 28, 2021 INTERVIEW PHOTOGRAPHY Kevin To INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The world of street and documentary photography has a new voice in Kevin To. With an eye heavily influenced by the photojournalists and humanists of the past, Kevin's work is a stunning reminder of what can be achieved when the camera meets life on the streets. His images capture the emotions and stories of everyday individuals, giving viewers a glimpse into a world they may never have experienced otherwise. Kevin has traveled extensively, using photography as his tool to bring stories and moments to life that are reminiscent of the golden days. Join us as we explore his creative journey and discover what inspires this talented artist. “What I want to express is the beauty and joy of everyday life. When working on a project or a specific story I try to expand that to include a wider range of the human experience.” IN CONVERSATION WITH KEVIN TO THE PICTORIAL LIST: Kevin please tell us about yourself. How did you become interested in photography? KEVIN TO: I was born in suburban Northern Virginia, just outside Washington DC. Was based in South Sinai for the past six months and now I’ve just arrived in Istanbul, Turkey. I grew up in a big family where my aunts, uncles, and cousins were all into some form of art as their hobbies, that form being mostly photography. Most them are landscape, wildlife and wedding photographers. But they were always taking photographs during family dinners and events, so it was inevitable that I picked one up sooner or later. TPL: Where do you find your inspiration? KT: I find a lot of it through film and music. But I also find a lot of inspiration through just talking to people. Hearing about their life experiences and their perspective on things, it helps me view things differently. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? KT: I’ve found that when I take my camera out most of the time people respond positively. Occasionally negative reactions occur, and the easiest way to diffuse these situations is to smile and explain. I find that a conversation about what I’m doing and why I took a photo of the person tends to allow them to understand, and more often than not they leave with a smile as well. The initial reaction of “why did you take that photo of me!?” Really scares photographers, but that’s normal and if I wasn’t in a good mood I’d probably react the same way if someone did that to me. TPL: Do you have a favourite place to go and photograph? KT: Wherever I happen to be. My favorite images are definitely made when I’m traveling and when my eyes get to see familiar things in a foreign setting. New colors, sounds, smells, cultures, and energy levels put me into a creative flow. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KT: Some of my favorite photographers include Philip-Lorca diCorcia, Juergen Teller, Andre Kertesz, and William Eggleston. Film directors I always revisit and love are Andrei Tarkovsky, Claire Denis, Lucrecia Martel, Wim Wenders, Wong Kar Wai. And so many others. New colors, sounds, smells, cultures, and energy levels put me into a creative flow. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? KT: If it’s a project then absolutely I have images in my head that I want to make. Telling a story through images is the same as writing one, so certain images that give context and move the story forward are essential. But If I’m just wandering about, then most of the time I let the images come to me, no matter the time or day. 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? KT: The equipment does affect the way I shoot and how I go about achieving my vision. I shot mostly with film in the past but now since I’m traveling I’ve switched over to digital. The camera I grab most of the time is my Ricoh GR. It’s the perfect camera in my opinion, and it brings me the most joy with the most ease. The wide angle lens allows me to capture moments on the fly. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? KT: Some of my goals include having a solo exhibition in the future and have a few more books published. In five years I hope to be a photojournalist for an international photo agency like Getty Images or Reuters. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KT: Currently I’m doing some research on the largest stateless nation, Kurdistan. TPL: When I am not out photographing, I (like to)… KT: Go swimming, cycling around the city, travel, and visit museums. Or just stay home with a good movie, a few cocktails, and some good company. 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.

BUENOS AIRES STREETS Daniel Goldenberg's eclectic view of street photography is an artistic sincere way of showing the essence of the human in an urban context. BUENOS AIRES STREETS November 10, 2021 INTERVIEW PHOTOGRAPHY Daniel Goldenberg INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Daniel Alejandro Goldenberg is an Argentinian street photographer with an interest focused mainly on capturing characters and everyday situations on the streets of Buenos Aires. Street photography is a passion that cultivated as a hobby for Daniel which has helped him focus his gaze on the social and individual environment that surrounds him, giving him the possibility of observing reality in a less superficial and more humane way. “I believe that street photography is the most artistic and sincere way of showing the essence of the human being in its urban context.” IN CONVERSATION WITH DANIEL GOLDENBERG THE PICTORIAL LIST: Daniel please tell us how did you become interested in photography? DANIEL GOLDENBERG: I have always been interested in photography in some way, perhaps by inheritance, since my father was a photographer by profession. Observing the naturalness and spontaneity of the style of the great street photographers of the 20th century, I realized that street photography was the style that best suited my need for artistic expression. TPL: What does street photography mean to you? Describe your style. Where or how do you find inspiration? DG: I believe that street photography is the most artistic and sincere way of showing the essence of the human being in its urban context. My style is quite eclectic, maybe even a bit chaotic, depending on what catches my eye at any given moment. Although I try to maintain a minimum coherence in style, I do not let that intention make the process of taking photos boring and repetitive simply for fun and artistic expression. My inspiration comes mostly intuitively when I hit the streets, although a small percentage of planning ahead always comes in handy. TPL: Did you have any difficulties when you started street photography? If so, what are they? DG: I had the typical difficulty of coming face to face with people with a camera in between, but with the passage of time, practice and training, I began to move naturally and learned to blend in with the environment with greater ease. TPL: What are some are some tips or suggestions that you would give yourself if you started photographing again? DG: I would advise to start this beautiful activity as soon as possible and not go out without a camera in my pocket. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DG: In these times of Instagram, I have a lot of favorite photographers. The current possibility of being able to appreciate the work of so many good photographers is wonderful. Among some of my favorites are Roy Savoy and David Gibson. Of course, constant inspiration comes from observing the work of classics like Vivian Maier, Henri Cartier-Bresson, Robert Doisneau, Elliott Erwitt, etc. Some classics from my country, such as Horacio Coppola and Sameer Makarius and the contemporary Alex Gottfried Bonder, a great street photographer from the city of Buenos Aires, whom I have the honour to know personally for having participated in one of his workshops. My style is quite eclectic, maybe even a bit chaotic, depending on what catches my eye at any given moment. TPL: When you are photographing, how much is instinctive versus planned? DG: It depends on the place and the mood in which I wake up that day, but generally there is a balance between instinct and advance planning. TPL: Does the equipment you use help you achieve your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? DG: Depending on the circumstances, I use one of the two cameras that I have at the moment. In situations where the size of the camera is not an impediment, such as tourist places, events, etc. I use a Canon 80D reflex camera, which allows me great battery life, usually with a 24mm lens (35mm FF). Normally, where more discretion is required, I usually go out with a very small mirrorless camera, a Panasonic GM-1 with a 20mm (40mm FF) lens. TPL: Is there a project you are currently working on that you would like everyone to know about? What are some of your goals as an artist or photographer? Where do you hope to see you in five years? DG: Not at this precise moment, but I have in mind to combine historical scenes from Buenos Aires with spontaneous street situations in the same project. I hope to improve as a photographer in general terms and in the future to be able to launch a graphic publication about my work in street photography. TPL: “When I am not out photographing, I (like to)... DG: When I'm not photographing I want to be photographing.” PORTFOLIO WEBSITE 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.

Photography is the best approach I have found in my quest for authentic resonance in the world and to understand the responses I get. ROMAIN COUDRIER Photography is the best approach I have found in my quest for authentic resonance in the world and to understand the responses I get. LOCATION Marseille FRANCE CAMERA/S Fujifilm XT30 and Canon Eos 600D WEBSITE https://romaincoudrier.com/ @ROMAIN.COUDRIER Bifröst

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