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

I am a photographer. Why? The jazz or was it the sounds of the blues?, the city streets, the neon signs, a thousand and one taxi cabs, all those hats and coats, a myriad of beards and legs and eyebrows and hair and hands, the beaches, tiny apartments and stairwells, parties until five a.m., costumes on Halloween and any day of the year, the cockroaches and fireflies, the actors, singers, musicians, and photographers, the blind and the seeing and the blind who saw more than me, all the countless grays and colours too. PAN I am a photographer. Why? The jazz or was it the sounds of the blues?, the city streets, the neon signs, a thousand and one taxi cabs, all those hats and coats, a myriad of beards and legs and eyebrows and hair and hands, the beaches, tiny apartments and stairwells, parties until five a.m., costumes on Halloween and any day of the year, the cockroaches and fireflies, the actors, singers, musicians, and photographers, the blind and the seeing and the blind who saw more than me, all the countless grays and colours too. LOCATION New York UNITED STATES CAMERA/S Leica M5, Super Angulon, iPhone 6 WEBSITE https://panphoto.cargo.site/ @BXPHOTOGRAPHER FEATURES // Resilient Bronx Synesthesia

I have spent an unhealthy amount of time practicing the craft of advertising in Dubai and have worked with some of the finest photographers on ad campaigns. I now bring that rich experience to my own photography. Whilst working on an ad campaign, I discovered that the average household in rich countries has over 300,000 items. Working with companies (big and small), the global advertising industry has ramped up growth and demand for products that is costing the earth nearly $3 trillion in environmental, social and human health damage. To offset my own advertising and environmental footprint, I now champion only ethical brands and use my art to raise awareness for sustainability and minimalism. I am currently working on a long term photography project. IXI NIJHAWAN I have spent an unhealthy amount of time practicing the craft of advertising in Dubai and have worked with some of the finest photographers on ad campaigns. I now bring that rich experience to my own photography. Whilst working on an ad campaign, I discovered that the average household in rich countries has over 300,000 items. Working with companies (big and small), the global advertising industry has ramped up growth and demand for products that is costing the earth nearly $3 trillion in environmental, social and human health damage. To offset my own advertising and environmental footprint, I now champion only ethical brands and use my art to raise awareness for sustainability and minimalism. I am currently working on a long term photography project. LOCATION Dubai UAE CAMERA/S Fujifilm X-T3 @SHOTBYIXI FEATURES // Minimalist Impressionism

MOMENTS OF BEAUTY Lucas John is an actor and photographer who tries to document the little moments of beauty in the spaces between people and their world. MOMENTS OF BEAUTY April 30, 2021 INTERVIEW PHOTOGRAPHY Lucas John INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Lucas John is an English actor and photographer who tries to document the little moments of beauty that exist in the spaces in between us all. Photography is not just an art to him, but a way of life. He became interested in it through his love for cities and street culture and connections with people. He tries to capture what he calls the spaces in between, small things that often go unnoticed by others, that exist between people and their interactions with others and their environment. “I became interested in photography mainly due to my love of big cities, people, street culture and chaos. Also being a bit of a hopeless romantic. From a young age I always wanted to live in Paris as a clown and photographer, and I became obsessed with Doisneau and Brassai as their photos encapsulated everything I wanted from life and a time I really vibed with. Further to that they resonated with me and my desire to be lost in the cities as an artist connecting with people.” IN CONVERSATION WITH LUCAS JOHN THE PICTORIAL LIST: Lucas please tell us about yourself. How did you become interested in photography? LUCAS JOHN: I was originally born in Leeds but spent most of my adult life living in London working as an actor in a physical theatre company. Currently due to the lockdown I am back in Leeds. I was living in Croatia for a short time but had to come back to the UK for unforeseen circumstances and then Boris decided to lock things down, so I find myself here for the time being. I became interested in photography mainly due to my love of big cities, people, street culture and chaos. Also being a bit of a hopeless romantic. From a young age I always wanted to live in Paris as a clown and photographer, and I became obsessed with Doisneau and Brassai as their photos encapsulated everything I wanted from life and a time I really vibed with. Further to that they resonated with me and my desire to be lost in the cities as an artist connecting with people. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? LJ: I always try and capture what I call the spaces in between. For me this is the little pockets that often go unnoticed by others, that exist between people and their interactions with others and their environment. When I am taking photographs, I really don't like to present anything aligned or within a structure I like everything to be off centre, slightly distorted with a sense of something happening out of the frame. There is a power in the imagination that is unlike anything and I really like to let the viewer create their own narrative of what is going on in the picture. That is why I never stage any of my shots and I really do try keep them as real to what I encountered as possible. Don’t get me wrong, I love an artistic shot with high contrast and shadow work, heavily edited, every now and then, but I have to say the shots that I really engage with are really naturalistic. They transport me to the scene, where I can almost smell, hear, feel and touch what was happening at the time. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? LJ: Every now and again you get people who spot that you have a camera and I find that if you're just open and honest in yourself and take ownership of your craft, then most people don't give you any grief. I try to understand as well that some people would not find it cool at all to feel like their picture has been taken without them knowing, but it is a fine line that you have to navigate when you're trying to capture realistic authentic, candid moments. If they ask I often show them the photograph or explain about what I'm doing and just try to find out a little bit more about them as a person rather than making them just a subject that I am photographing. I want to get to know them as a person as well because I believe it adds more depth, colour and richness, not only to your art but to your experience being out in the street, you are around other human beings who are deeply interesting and intriguing and can inspire you to no ends. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? LJ: I don't really have a concept in mind when I go out and hit the streets. I pop a podcast on or some cool music and I always take my notepad for poems and stories with me as well and I just wander the streets and observe life and what's going on around me. After a while you just find yourself entering a flow state where everything is extraordinary. Sometimes you can wander around aimlessly and it can get a bit of a drag and that's when I might start looking for certain things to photograph just to give me a bit more focus so I don't drift off. But more or less I just hit the streets almost every single day with my camera and just become a part of that life, a part of that scene and just live in the moment. I don't see photography as a job or a task, it's just something I really enjoy. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? LJ: Garry Winogrand - an absolutely incredible photographer with an ethos and work ethic which is infectious, rigorous and driven. I love his practice of being out on the streets each and every day documenting life. He was in love with "life" and his photos were not based around aesthetic appreciation or being "pretty," they were about the reality of the moment, having an event, a story, something hidden within the image, open to interpretation. His ability to create work but completely detach himself from it egotistically, was and is, a huge thing I have taken from his ethos. Keep moving forward, do not get trapped in the past and let the work be, develop and grow, and move forward. Olivier De Sagazan - a powerhouse in performance art. Bringing the nightmarish inner thoughts of the human condition into the moment through the creation of his creatures and physical representations of the darkest and most surreal spaces that exist within the human psyche. It has a beautiful fluidity, aggression, brutality, grace and honesty about the work. It refuses to hold back and for myself it was beautiful to see the connection and fusion of the artist and the art coming together in the moment. The art no longer exists as a piece external to the artist and therefore something which we can detach from, it lives through the artist and is present eternally. Charlie Chaplin - for his humour and comic timing. Fun engaging and simply by using the body, was able to speak sonnets of humour and vulnerability. It goes to show that the voice is not an apparatus which is used only when speaking, it is a tool which is an energy and force which can be expressed via the entirety of our being. Gao Bo - an exceptional photographer that I came across while staying in Paris. His work is just extraordinary, the depth and contrast that he uses in his work to highlight the human condition of what was going on in Tibet, and his dedication and pride to his culture by fusing his own blood with his photography creates an almost spiritual experience that can be felt pulsating out of the images. There is a real sincere honesty about his work that I haven't really found elsewhere. When I am taking photographs, I really don't like to present anything aligned or within a structure I like everything to be off centre, slightly distorted with a sense of something happening out of the frame. TPL: Where is your most favourite place to go photograph? LJ: I would have to say London. That city has a very special place in my heart, being a broke actor wandering around the streets with a camera not knowing where my next paycheck or meal was going to come from, but just living off the energy of the streets and the orchestrated chaos that is this wonderful city. When I did this, I met so many wonderful people who helped me out and became friends for life. Wandering around the city whenever I go back just makes me feel alive. It was at that time that I realised that as long as I wake up everyday and I am being creative and connecting to people be it through acting or photography, then I didn't need anything else in life. Money and security became insignificant to me and it was all about connection and art. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? LJ: I don't think the equipment really makes a massive difference, however there are certain times that have come up when I've had to upgrade my camera equipment just because I felt that the equipment I was using wasn't giving me exactly what I wanted artistically. At the moment I'm using a Fujifilm X Pro1 one and a xe-3. Most of my images have been shot using a 28 or 27mm lens. I just like a nifty little lens that's not too obtrusive and that's easy to pocket and carry around. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? LJ: I like to visualise myself living In a tiny little apartment in Paris working as a theatre practitioner in my own horror theatre company, as well being a travelling photographer who puts on exhibitions, either in spaces, or on the street for people to enjoy. Hopefully in five years as well I will be combining my poetry writing and my photography and creating little books for people to either purchase or if they can't afford it take to go and enjoy my vision and stories from the streets. I intend to travel a hell of a lot more after getting the travel bug from Croatia and be part of artistic residencies around the world, teaching, learning and broadening my artistic knowledge and skill set. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LJ: At the moment I don't really have anything planned such as projects apart from some acting work I will be doing in the near future, working on some clown and bouffon work. I would love to collaborate with some fellow photographers and artists out there (cough) and learn from them as well because I am so new into the world of photography. It would be just incredible to collaborate with some extraordinary photographers and artists out there and see what we can come out with. TPL: "When I am not out photographing, I (like to)… LJ: When I am not out with my camera doing photography work I love to write poetry. I love to use my body physically as an actor. I love to watch horror movies endlessly, read horror stories, basically all things horror as well as take long walks in nature. I love to connect with people, going for drinks, having a laugh and working on artistic ventures. I love performing and learning new skills as a performer, practicing techniques from all backgrounds. I also love to travel as well as immersing myself in new cultures, people, artists, performers, creatives and just fellow human beings." Lucas John's photography embodies the power of observation and the beauty that is found in between the world around us. He encourages others to take the time to pause and appreciate the small moments of beauty that can be found in everyday life. His call to action is to look at the world around them with a different lens, to take a moment to take in the beauty of little things, and to capture those moments and share them with the world. VIEW LUCAS' PORTFOLIO Instagram >>> read more interviews >>> 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. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

While I work to prepare a more significant, wide-reaching project, this body of work acts as a field journal. The photographs serve as an illustrated guide, unearthing the masked narratives within the struggle of flawed vision. They allow me to investigate my surroundings as I discover ways to portray and give visual life to the unseen. DOUG WINTER While I work to prepare a more significant, wide-reaching project, this body of work acts as a field journal. The photographs serve as an illustrated guide, unearthing the masked narratives within the struggle of flawed vision. They allow me to investigate my surroundings as I discover ways to portray and give visual life to the unseen. LOCATION California UNITED STATES CAMERA/S Canon 5D IV, Olympus Pen EE, Polaroid Spectra WEBSITE https://sensory.dougwinterstudio.com/ @DOUG_WINTER_STUDIO FEATURES // Beyond Sight

PICTORIAL STORY THE STRANDED PAKISTANIS Anwar Ehtesham invites us into the heart of the Bihari community. His photography captures the raw beauty of life shaped by adversity — offering a rare glimpse into the intimate connection between people and the environment they call home. October 11, 2023 PICTORIAL STORY photography ANWAR EHTESHAM story ANWAR EHTESHAM SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For centuries people have moved from one part of the world to another in search of a better life. Unfortunately, in some cases these journeys have ended with the unfortunate individuals becoming stateless and with no hope for a better future. This is the sad story of the Biharis, or Urdu-speaking people, who have been stranded in Bangladesh for almost five decades and are now a forgotten population of over 300,000. This population has been denied their chance at a decent life due to political unrest that has crippled their country of origin. They are a people without a nation, and their struggles remain largely unheard. The Geneva Camp, also known as the Bihari Camp, is a symbol of the history and culture of these people. In pre-independence India, they were a Muslim minority in the region of Bihar. When the partition occurred in 1947, many of them moved to what was then East Pakistan. After a civil war between East and West Pakistan broke out in 1971, these Biharis sided with West Pakistan, and subsequently East Pakistan became an independent state of Bangladesh. Despite having been loyal to Pakistan, they were denied citizenship, and as a result they have been rendered virtually stateless and abandoned, labeled as Stranded Pakistanis . Between 1974 and 1992, approximately 175,000 Biharis were relocated to Pakistan. For over 40,000 people packed in an area slightly larger than an acre, Geneva Camp continues to be their home. Finally, in 2008, a court in Bangladesh granted citizenship to all of the camp's residents born after 1971. The national identification cards they received gave them voting rights. However, this did not mean that their lives had improved very much, and they still lacked basic rights such as passport acquisition and access to employment opportunities or even public schools. This has left the Biharis stuck in a never-ending cycle of displacement and poverty. In the scope of my photo documentary, I place a strong emphasis on portraying the intricacies of their daily lives, shedding light on the conditions they inhabit day to day, and delving into the diverse range of professions they engage in to make a living. However, a particularly noteworthy aspect of my project centres around casting a spotlight on the children residing within the camp. These young individuals, children of Bihari parents yet born as citizens of Bangladesh, hold a unique position that intricately weaves together their historical background and their present circumstances. By focusing on these children, I aim to provide a multifaceted and comprehensive narrative that captures the essence of their experiences and the broader context of their lives within the camp. The conditions in the Bihari camps of Dhaka are dire, with houses that are usually no larger than 2.4m by 2.4m (8ft by 8ft), separated by 61cm wide passageways that are shared by the residents, goats, and chicken. To make space for possessions, beds are often raised up above the floor. When it rains, the camp floods, including the toilets, and the floors are weak and prone to crumbling due to gaps in the walls and under stairways. Additionally, electrical lines hang in webs above the hallways, frayed and in a state of disrepair. It is a heartbreaking story that has been largely forgotten in today's turbulent times. Yet it is a reminder to the world of how tragedy can befall any group of people in a matter of years, leaving them virtually stateless and without a voice. © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham Anwar Ehtesham's photo documentary shines a light on the almost forgotten plight of the Biharis, a population that has been denied their chance at a better life due to political unrest in their native country. His work captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of both the lives of the Bihari people and their relationship with their environment. His photographs take us on a journey, exploring the unique stories that make up this forgotten population and immersing us in the struggles of those living in the Bihari camps of Dhaka. We must continue to tell the story of these people and raise awareness of their plight. To learn more about Anwar and his work, we encourage you to visit his social media. view Anwar's portfolio Read an interview with Anwar >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

After picking up a camera only as little as two years ago, photography has quickly become a passion of mine and I shoot most days. My interest in street and documentary photography comes from the love of people watching and observing life around me and in my home city of London, where no day or scene is ever the same and constantly changing. There are many influences to my style of photography, ranging from photographers, artists, sculptors and musicians. Always interested in the end product, I fully believe simplicity is the key to a good picture and it should tell a story but also hold some mystery hoping to provoke some questions by the viewer. JAMES AYRES After picking up a camera only as little as two years ago, photography has quickly become a passion of mine and I shoot most days. My interest in street and documentary photography comes from the love of people watching and observing life around me and in my home city of London, where no day or scene is ever the same and constantly changing. There are many influences to my style of photography, ranging from photographers, artists, sculptors and musicians. Always interested in the end product, I fully believe simplicity is the key to a good picture and it should tell a story but also hold some mystery hoping to provoke some questions by the viewer. LOCATION London UNITED KINGDOM CAMERA/S Fuji X-Pro 2 FEATURES // Simplicity is the Key

SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. SHOOT NEW YORK CITY September 27, 2023 INTERVIEW PHOTOGRAPHY Leanne Staples INTERVIEW Bill Lacey SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Successful photographers shooting on the streets of New York City possess a keen eye, an awareness of space, and instincts that put them in the right place and time to click the shutter. Not all have the passion and drive to stick with it in the way that Leanne Staples does. Her intuitive feel for the city results in a perspective of what real life truly looks and feels like. Her choices are not driven by a need for ‘likes and follows’ on social media. Rather, it is the honesty of the moment that imprints her framing of city life, both the simplicity and complexity of it. Originally from Detroit, Leanne has an attitude and approach that make her a perfect fit for the city - one could easily mistake her for a native New Yorker. A photographer, a writer, and a mentor, Leanne doesn’t limit herself to purely street photography. She also explores the world of abstract photography, in both black and white and color. She embraces both film and digital, using whatever tools suit the moment in order to realize her vision. She moves slowly, always observant, always ready to bring the camera to her eye and frame the moment. When walking the streets of midtown Manhattan, Chinatown, Coney Island, or less touristy destinations, you just might run into Leanne running a private or group workshop. Her rich understanding of the medium and her easy-going demeanor makes Leanne an in-demand educator of both novice and experienced photo enthusiasts. Glancing at her work, it’s easy to understand why. “Photography is a broad subject. I shoot street, abstract street, and abstract photography. For me, street photography is an activity. It’s about forgetting about the camera and being in the moment. Capturing what I see. It is a method of participating in life. I attempt to achieve images that match my feelings and thoughts. I do this on an intuitive or emotional level. I try to leave the intellect and the technology out of the process.” IN CONVERSATION WITH LEANNE STAPLES THE PICTORIAL LIST: Hi Leanne, please tell us about yourself. What would you say first drew you to photography? LEANNE STAPLES: I was born in Detroit, and I left there in 1978. My father gave me a camera when I was 12, and I’ve been shooting ever since then. I had no idea how important photography would become for me, but it has always been a form of communication in my life. Sometimes an image can say more than words. I am also a writer, and I started writing at the same time as photography. For the past 13+ years, I have been providing group street photography workshops, private tours, and mentoring to people of all ages and backgrounds in New York City. It is a very fulfilling experience, and it is a joy to assist people in their photographic journeys. TPL: You shoot primarily in New York City. What special qualities unique to the city influence your street photography and how you portray the community? LS: I have the great fortune to shoot in New York City. It is a dream. That said, if I had to travel to shoot, I’d either move or quit photography. I’d like to think that people can shoot wherever they live. Part of what makes New York City unique is the sheer diversity and number of people. I am a thoroughly urban person so it is ideal for my personality. That said, the title of many of my group street photography workshops is Seeing With New Eyes. I shoot the same neighborhoods over and over again, and I never tire of it. There is much more to see if you take the time to look, to actually observe your environment. Most people who live here or visit here merely skim the surface of the city. TPL: What do you want your photographs to inspire in other people? What is their “takeaway”? How do you hope people feel when viewing your work? LS: I hope that people are inspired by my photography. It’s not a given. But I shoot because it’s what I love to do. Sharing my work with others and having them like it is the icing on the cake. That is something that wasn’t possible in the days before all thing's internet and digital. I was born to create, and photography is an addictive pursuit. NOT for the technology and the consumer aspect. Street and other forms of photography are about self-expression. It is how I see the world. It is communication without words. I am happy when people can connect with my work. But I don’t try to be all things to all people. I try to please myself with my work first. I hope that my photography leaves enough space in it for people to interpret in their own way. I am not trying to convey a particular message. TPL: What is the most rewarding part of being a photographer for you? LS: The biggest inspiration is when people are shooting with me in my workshops, and they find their inspiration, and they feel comfortable shooting street and finding new methods of doing it. I’d like to think that there’s reason to hope in humanity. I often find it on the streets. To be in the middle of a melting pot surrounded by people I will never meet and are beyond the six degrees of separation. TPL: When do you feel most inspired? LS: Great question. I wish I could give you a good answer to that. A good night’s sleep. Strong coffee. Forgetting about a million things going on in the world and just observing my environment. TPL: What are some challenges that you have faced as a photographer? Sometimes I get bored of the same routine, and then I switch up how I shoot. Lately, I’ve been shooting in Auto mode and really liking it. I don’t have many challenges in photography. I think that social media is a double-edged sword. It can be helpful and harmful at the same time. I try not to take it too seriously. Some of my favorite photos get very few likes. At the same time, those that I don’t like so much get lots of likes. So now I just post and what will be will be. I have met some amazing people both virtually and in person through social media, and it’s wonderful to be featured by The Pictorial List and others. Thank you! My photography is like a journal of my life in images. It is how I participate in life. 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? Please describe your process. LS: When it comes to street photography I am careful to not have preconceived ideas about what I would like to capture. I like to be surprised by the light, the weather, and the people that I will encounter. I intentionally walk slowly. Street photography is the art of observation. If you are moving quickly you will miss the subtleties. I look for things that attract my eye. For that reason, I set my camera up and forget about it and previewing images. I want to be in the moment and ready to shoot. TPL: Do you have any favorite artists or photographers you would like to share with us and the reason for their significance? LS: I have so many favorite artists and photographers. Saul Leiter is at the top of the list. I especially like how many of his photos almost look like paintings. I also really like Gerhard Richter and how many of his paintings look like photos. When you no longer know which medium it is. Blurring the lines as it were. TPL: If you could just choose one photographer to shoot alongside for a day..., who would you choose? And why? LS: Robert Rauschenberg. He was a great artist and photographer, and he continues to inspire me on a regular basis. TPL: What was the first camera you ever held in your hand, brought to your eye, and released a shutter on? What is the camera you use now, and your preferred focal length? Does the equipment you use help you achieve your vision in your photography? LS: The Nikkormat was my first camera back in 1966. That said, I think I had an Instamatic before that. But, the Nikon FE was the camera that I used for many decades before my entry into digital photography. I now use a combination of cameras. Fuji X100 V, Fuji X Pro 3, Nikon FE 2, Polaroid 600, and a number of other film and toy cameras. They are all tools that provide different possibilities. These are the cameras that I am able to bond with, and they allow me to pursue my vision. TPL: Tell us about your workshops, your books, your online blogs, and any events you want us to know about. LS: I provide group street photography workshops in different areas of New York City on most weekends throughout the year. I welcome photographers of all levels of experience, and I limit my workshops to 5 people so that everyone receives individual attention. I also provide private workshops and mentoring, and in both private and group workshops I help people find their own style and see photography in new ways. Street photography is an art. There is no paint-by-number recipe for it. You just have to get out there and do it. I have a newsletter for Shoot New York City, which is the name of my one-person independent business. I have self-published 2 photo zines of my street photography, and I hope to make more if I can learn how to use the technology to make books. TPL: “When I am not out photographing, I (like to) … LS: I write, read, exercise, meditate, listen to music, spend time with art and photography books, and watch cinema.” Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. Her knowledge of photography, from film to digital, and her ability to mentor others bring the art of street photography to people around the world. If you would like to experience a window into New York City through her lens, go visit her website, participate in a workshop or connect with Leanne through Instagram. VIEW LEANNE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

Since my youth, I have loved taking photos and experimenting with different perspectives. In 2016, I bought my first real camera, an old Fuji X-E1. I didn't know at all what I wanted to photograph...I just wanted to experiment. I have been passionate about street photography since 2017. I started to take pictures of my surroundings because I was curious about the world around me. The streets became my classroom, and they led me to places I would have never found otherwise. I love discovering hidden gems in the city and sharing my adventures with others. This is how I want to tell my story. SAMUEL IOANNIDIS Since my youth, I have loved taking photos and experimenting with different perspectives. In 2016, I bought my first real camera, an old Fuji X-E1. I didn't know at all what I wanted to photograph...I just wanted to experiment. I have been passionate about street photography since 2017. I started to take pictures of my surroundings because I was curious about the world around me. The streets became my classroom, and they led me to places I would have never found otherwise. I love discovering hidden gems in the city and sharing my adventures with others. This is how I want to tell my story. LOCATION Nuremberg GERMANY CAMERA/S Fuji X-E1 and Fuji XPro 3 WEBSITE https://streetsight.de/ @SAMUEL.IOANNIDIS FEATURES // The Curiosity Gap

I have been taking street pictures for fours years. As I hone into my style I aim for human gestures that can be related to everyone. My goal is to take black and white to show how time can stand still. I love the innocence of children and the wisdom of older people. Life should be enjoyed! VICKI WINDMAN I have been taking street pictures for fours years. As I hone into my style I aim for human gestures that can be related to everyone. My goal is to take black and white to show how time can stand still. I love the innocence of children and the wisdom of older people. Life should be enjoyed! LOCATION Boston USA CAMERA/S Leica Q2, Leica Monochrom @VBARN106 FEATURES // Authentic Moments

PICTORIAL STORY WILDCATS WINNING WOMEN March 26, 2021 PICTORIAL STORY Photography and story by Neville Newman Introduction by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link When the first whistle blew on the field to mark the start of the Hamilton Wildcats Australian Rules Football match, little did anyone know that it would be the start of an incredible journey for Neville Newman. For over several years, Neville has been the official photographer of the Wildcats, capturing moments of joy and celebration from the passionate female football team in Ontario, Canada. From the highs of wins and the lows of losses, he has been there with his camera, documenting every single moment. Neville's role as photographer has been an essential part of the Wildcats' family. In winter, Neville spends his time in the darkroom, shooting and developing black and white film, while in warmer months, he concentrates on shooting 'footy'. His work brings out the character of each player and the unique spirit of the Wildcats. Neville has an impressive story to tell about his journey with the Wildcats, and we are lucky enough to have him here with us today to share it. So, let's join him on his incredible journey and get to know more about the Hamilton Wildcats Australian Rules Football club in Ontario, Canada. While Canada and ice hockey are synonymous, thanks to the efforts of Australian expats and their Canadian converts, ‘ Footy ’ (Australian Rules Football) has established an enthusiastic following with a thriving league in Ontario, teams all across the country and internationally represented from both men and women. I began shooting the Hamilton Wildcats as the club’s official photographer in 2016. Whilst the men’s team has been in existence for thirty years, the ladies only formed a team for the first time in 2012. For that and the following four years they would win a Grand Final berth, but be denied the flag. In 2017, things altered dramatically. With two influential players overseas in Australia and other team changes, the ladies were the recipients of the ‘wooden spoon’ (an award that is given to an individual or team that has come last in a competition). The ignominy was short-lived, however, and the Wildcats came back strong the following season, laying a foundation that would propel them to team history in 2019 when they took home the flag. In 2016, as I began photographing the team, there was no way of knowing that the following year would be a washout, a year that in retrospect only served to instill new determination in the team that would pay off with the 2019 flag. But all that was in the future. The team would make the Grand Final in 2016 but would not take the ultimate prize. 2018 just felt different. The ladies put the disappointment of the previous year firmly in the rubbish, and the team oozed confidence. There was a sense that they were in a rebuilding mode at so many levels. Every win is a celebration, but the renewed energy was shining through as the victories started to follow each other. Determination was the watchword throughout the buildup that began in 2018. It was a matter of contesting, no matter the odds. It was a psychological battle too. Every game was a reminder of defeats they had suffered the previous year. Although the ladies’ season ended with a semi-final loss that year, the disappointment would act as a spur in 2019 when they took home the first flag in the club’s history. Teamwork, having your mate’s back, is what successful footy is all about. It is also about taking advantage of the slenderest opportunities when they become available and making space where none previously existed. The club is a welcoming mob for new players. In 2018, Kendal Wales joined the crew having become smitten with footy when she left Canada to attend university in Australia. She brought her enthusiasm and effervescence to the side as it rebuilt and quickly became a stalwart. In 2019, her perseverance paid off as she was one of the team that lifted the flag. The social side of the club is as much fun as the footy. Awards nights, jumper presentations and alumni evenings are always a bunch of laughs. I like to catch some candid moments, and the combination of good spirits and good tucker gives me some excellent opportunities. The Wildcats’ ladies’ team might only have a nine-year history, but the club has made its influence felt in Australia too. Lia Vansevenant demonstrates typical Catters’ determination as, unfazed by this looming attack from Etobicoke Lady ‘Roos Victoria Baran, she successfully disposes of the footy. After spending the following year in Australia, she came back to be part of the club’s new era where she is the team’s coach. © Neville Newman She’s small but she’s mighty. Michelle Grynberg shows the emotion that infused the team in 2018 as she challenges Selina Amaral of Etobicoke’s Lady Roos for the footy. Nothing was going to stop her getting her hands on it even though she was outnumbered. © Neville Newman Lise Kiefer, with the footy, driving through a gap while Gabriela Arias shepherds away a threat from the opposition exemplifies the way in which the ladies’ team created the conditions in 2019 that resulted in them taking the premiership. © Neville Newman Along with the ecstasy must go the agony. Like any other club, the players have their share of injuries. No one could know at the time though, that this 2018 injury would signal the eventual end of Emily Spicer’s playing career. She came back from this one, but the damage was done. In early 2019 a torn ACL put her on the sidelines again and ruined her chances of being in the winning side. She has decided that her playing days are over, but once a Catter, always a Catter and the club will see lots more of her in different roles. © Neville Newman 2018 saw Lia Vansevenant back in the side after a year in Australia where, among other achievements, she represented The Northern Lights, Canadian women’s team, in the 2017 International cup. Always a fierce competitor, she is an integral part of the team and its leadership. © Neville Newman Don’t argue. Aware of an impending tackle attempt, Wildcats’ Kelli Gruhl performs her own brand of Richmond AFC’s Dustin Martin’s fend off on Etobicoke Lady ‘Roos’ Jenn Minchin. The move attitude symbolises the club’s attitude as they worked their way through 2018 and then stormed up to the 2019 Grand Final. © Neville Newman The club is a welcoming mob for new players. In 2018, Kendal Wales joined the crew having become smitten with footy when she left Canada to attend university in Australia. She brought her enthusiasm and effervescence to the side as it rebuilt and quickly became a stalwart. In 2019, her perseverance paid off as she was one of the team that lifted the flag. © Neville Newman Ainslie Pope’s story is now a club legend. She came to Hamilton from Australia in 2019 as a participant in a teacher exchange having never played footy in her life. She was introduced to the team and decided to give it a go where she played as if she had been born on the oval. From starting from nothing and eventually playing in a Grand Final winning team. How good can that be? Here, Ainslie lays a textbook tackle on Ottawa Swans’ Andrea James. © Neville Newman After playing against each other hard all afternoon in the semi-final, Wildcats’ Lia Vansevenant and Swans’ Kylie Marie advanced on each other for a little extra-curricular activity. Another Swans player acted as peacemaker to keep them apart. © Neville Newman Kendra Heil on the left, one of our former players now living down under, plays for Essendon in the VFLW women’s league and is part of their leadership team. Drafted by Collingwood originally, she suffered two torn ACL’s but her determination is beyond dispute, and her quite frequent return visits to awards' ceremonies here are a continuing source of inspiration to the club. Lia Vansevenant is drinking for both of them here. © Neville Newman Jacqueline Josephine, who spent a year in Australia with Lia Vansevenant, is the subject here, hamming it up a little as she sees me focusing on her. © Neville Newman Acknowledgements: Lia Vansevenant; Victoria Baran; Kelli Gruhl; Hailey Jones; Michelle Grynberg; Selina Amaral; Lise Kiefer; Gabriela Arias; Emily Spicer; Jenn Minchin; Kendal Wales; Jacqueline Josephine; Kendra Heil; Ainslie Pope; Andrea James; Kylie Marie. view Neville's portfolio Read an interview with Neville >>> 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 >>> 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. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

Photography can document a reality that depicts truths. But what if photography was embraced and utilized as an artistic medium, like paint, pencil or pen? Where the photographic image becomes an expressive brush stroke, a significant gesture of character, a simple clue in an abstraction, based in reality. This is the creative approach to photography that allows Monika to create the surreal images that ground and define her body of work. Her imagination writes the story, utilizing photography and innovative techniques Monika depicts and illustrates her thoughts and ideas, allowing her work to speak for itself. MONIKA JURGA Photography can document a reality that depicts truths. But what if photography was embraced and utilized as an artistic medium, like paint, pencil or pen? Where the photographic image becomes an expressive brush stroke, a significant gesture of character, a simple clue in an abstraction, based in reality. This is the creative approach to photography that allows Monika to create the surreal images that ground and define her body of work. Her imagination writes the story, utilizing photography and innovative techniques Monika depicts and illustrates her thoughts and ideas, allowing her work to speak for itself. LOCATION POLAND CAMERA/S mobile phone @MJUMJU_008 FEATURES // New Realities In Visual Poetry