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

CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. CONNECTED DICHOTOMIES July 5, 2024 INTERVIEW PHOTOGRAPHY Tatyana Mazok INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Emerging from the vibrant urban fabric of Minsk in Belarus, photographer Tatyana Mazok captures the essence of existence through her lens. With a rich academic background at Belarusian State Economic University, Tatyana tempered her mind with discipline, later infusing her artistic work with precision and passion. It was through photography that she discovered her authentic voice, a confluence of her diverse interests and her intrinsic identity. In 2019, under the illuminating mentorship of Elena Sukhoveyeva and Viktor Khmel, Tatyana’s creative flame was kindled, propelling her on a journey of exploration through the author’s school. Subsequent years saw her delve deeper into the nuances of the craft, navigating the realms of visual history at the Fojo: Media Institute Linnaus University and honing her cinematic eye at the esteemed ‘Marusina Masterskaya.’ Tatyana transcends mere technical skill. Her photography embodies the ability to capture the ephemeral, immortalizing the beauty of life’s transient moments. In her own words, “I shoot what I love and what interests me at a particular moment. And I get satisfaction from capturing the moment.” In her series “Connections,” Tatyana presents an introspective journey, using evocative diptychs to explore the complex web of relationships that shape our existence. Her lens thoughtfully transforms everyday moments into timeless reflections of beauty and self-discovery. Authenticity and emotional resonance are the cornerstones of Tatyana’s photographic philosophy. Her intuitive approach fosters a depth of immediacy and honesty, drawing viewers into her experiential narrative. Throughout the series, Tatyana deftly captures the ceaseless flux of the world around her. From the ever-shifting landscape of her urban surroundings to the subtle nuances of human interaction, each image serves as a testament to the ephemeral nature of existence. Yet, amidst the perpetual tide of change, Tatyana finds solace in the unchanging beauty of the natural world. As she eloquently observes, “The photos remain unchanged: family, nature, city and myself.” Central to the thematic fabric of “Connections” is Tatyana’s exploration of the myriad connections that bind us to one another and to the world at large. Tatyana skillfully reveals the hidden patterns of interdependence, sparking contemplation of our profound interconnectedness. Whether capturing the delicate symmetry of a family unit or the symbiotic relationship between humanity and the environment, Tatyana’s images serve as poignant reminders of our shared humanity. Beyond the visual allure, Tatyana’s work invites philosophical contemplation on memory and perception. She captures not just the world around her but also her personal experience within it, offering a unique perspective on the narrative flow of life and the resonance of visual storytelling. Join us in delving into Tatyana Mazok’s heartfelt photographic vision — a vision that extends beyond mere documentation, embodying the profound impact of photography as a conduit for introspection and discovery. “CONNECTIONS is a polysemantic name. On the one hand, there is an external visual connection between the photographs in each diptych: through color, compositional technique, and similarity. On the other hand, it is about the connection between human and nature, human and the city. And, how much they have in common. It’s also about my internal connection with each element in the photograph, because it’s all familiar to me: my beloved children, Belarusian nature, familiar roads and courtyards.” IN CONVERSATION WITH TATYANA MAZOK THE PICTORIAL LIST: Welcome to The Pictorial List Tatyana. What drew you to pursue photography as a form of artistic expression? TATYANA: At the very beginning of my journey, the technical part of photography was very difficult and took a long time for me. I slowed down and didn’t think about artistic language at all. I wanted to reveal all the technical secrets and, by pressing the camera button, produce beautiful masterpieces, filming everything. It was a great practical experience that led me to understand that photography can speak without words, speak for me, broadcast my inner feelings of the world around me. TPL: What role do diptychs play in conveying the interconnectedness of life in your work? How do you approach the composition and presentation of your diptychs to convey the connections you seek to highlight? TATYANA: Life and creativity are inseparable for me. In the diptychs there is an intensification of life. Moments from it. Let's just say, life twice: here it is life from frequent traces of birds on fresh snow and here is how the first rays of the sun covered a young face with freckles. They seem to be static objects, but they are a recording of what is happening in my life. The process of creating diptychs is always a unique event. It happens that one of the parts waits for its other half for two or three years. I don't deliberately shoot a frame in tandem with an existing one. I just take a photo of something, and then I scroll through it in my head and remember that once upon a time I already took a photo that would look incredibly good with it. Sometimes I make mistakes, but most of the time this exercise is successful. Can you imagine how great it is to bring together different years and different places? Of course, I pay attention to the composition of both parts. To enhance the effect, sometimes you have to crop the original frame. TPL: How do you incorporate elements of emotion and storytelling into your photographs to evoke a deeper connection with viewers? What emotions or messages do you hope viewers experience or take away from your photographs? TATYANA: I achieve contact with the viewer by close framing and large details. It turns out to be a kind of presence effect. The project is not difficult to perceive, visually calm in color, and it seems to me that every viewer will find in it something from their everyday life, memories from yesterday or today. I would also like the project to remind everyone of the beauty of every moment, of the value of our everyday life. TPL: How do you select the subjects or scenes that you capture in your photographs? What role does personal reflection play in your photography process, particularly in relation to your own connection to the subjects you photograph? TATYANA: Most often, my attention is attracted by lines, geometry, a fallen shadow, or my internal problem. I can walk and notice a fallen leaf, and now it’s already in the frame. I haven't photographed everything for a long time. And at different periods of my life my focus of attention changes. This gives food for thought - what is most important to me now. My inner experiences are transferred into photography. This changes the topic of research, working through a photograph of one’s feelings. This also affects the choice of color combinations in the frame. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? TATYANA: I had the experience of taking an amazing “Film Frame” course, where students watched films of one famous director every week, for example, “Kurosawa.” We analyzed the director’s visual language, his distinctive techniques, for what purposes and emotions they are applicable. And then they filmed their shoot using that language. Afterwards, I always thought about what I wanted to say with my shot, and what color, light, and compositional technique would help me with this. I also began to look at photographs of other authors, analyzing the author’s language. My photography serves as a documentation of my life. TPL: In what ways does your photography serve as a form of documentation or storytelling of your life and experiences? TATYANA: In general, all my photography is a document of my life. Whether I shoot self-portraits or my surroundings, this is all my little story. I show up in my photographs. You could say it's a photo diary. And, if they look back, this woman’s diary will talk about her mood, outlook on life, favorite color, some internal conflicts, joyful moments. And sometimes this diary has blank pages. TPL: Can you share any insights or lessons you've learned about yourself or the world through the process of creating “CONNECTIONS”? TATYANA: In the process of selecting photographs for the “Connections” project, I once again reminded myself of my inspiration and my content. Reviewing several years of archives, I have determined that my eye and my camera focus on what I love. I am filled with my family, the city I live in, trips to nature and myself. TPL: What drew you to study under Elena Sukhoveyeva and Viktor Khmel at the author’s school, and how did that experience influence your photography? And, how has completing courses such as ‘Photo History’ at Fojo: Media Institute Linnaus University shaped your understanding and approach to photography? TATYANA: At a certain point, I felt limited in my knowledge of photography. And how funny it is for me now, it seemed to me that I already knew so much. But I didn't know where to move next. In the direction. I was drawn to art, but there seemed to be a gap between us. I understood that I couldn’t handle self-education on my own; I needed a guide. In my search for a teacher, in reading reviews, in correspondence with graduates of Elena and Victor, I realized that this was what I needed. But I didn’t know that this would be the most difficult training, full of information, lectures, and deep immersion in project photography. A new, different world opened up for me, new names in the world of photography. Unfortunately, for a number of reasons, I was never able to complete my graduation project at this school. The knowledge gained here was structured in my head and rethought over the next three years. We can say that they were the basis for my design thinking and are still sprouting. The “Photo History” course, on the contrary, turned out to be easy for me to understand, but also deep in knowledge. A lot of material was filmed. I learned to speak through a series of photographs. My personnel selection process has changed, my view of topics that are of interest to society and other people, but not previously relevant to me, has expanded. But the main takeaway is to always choose what is important to you. Then working on history will be a pleasure. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TATYANA: I am firmly convinced that everything I saw and heard earlier in one way or another influenced me as a photographer. Something is filtered, something is analyzed and leaves an imprint. But I cannot pinpoint the authors who shaped my approach. I can name who I'm currently inspired by. Among the photographers are Jaume Llorens with poetic images of nature, Saul Leiter with his irregular framing, negative space, amazing color, Ilina Vicktoria - her portraits fascinate with light, contrast and deep emotion. I also really love the visual techniques of director Paolo Sorrentino. TPL: What do you hope to achieve with your photography in terms of personal growth? TATYANA: Great question! And of course I will be honest. I dream that my photograph will become part of the collection of MOMA, the Hermitage, and the European House of Photography in Paris. I dream of becoming one of the hundred most famous female photographers in the world. Loud, but that's how it is! TPL: When you are not creating your art through your photography, what else could we find Tatyana doing? TATYANA: I try to find time for everything that is dear to me. I used to sew a lot, embroider, and make jewelry. Now I read more, go to theaters, museums and of course spend time with my large family. As we reach the culmination of our exploration into the work of Tatyana Mazok, it becomes evident that her photography is not just an art form, but a vibrant tapestry interwoven with threads of life itself. With each photograph, Tatyana invites us into her world, offering a glimpse into the raw and unfiltered essence of being that defines her subject matter. Tatyana’s unique talent lies in her ability to transform life’s chaos into moments of serene clarity. Through “Connections,” Tatyana has not only shared her vision but also challenged us to see life through a different lens — one that recognizes the intertwining narratives and shared experiences that unite us. Her work is a compelling reminder of the beauty and complexity of the world we inhabit, and the endless possibilities that lie in the simple act of pressing a shutter. In closing, Tatyana Mazok's artistic journey is a testament to the enduring power of photography to move, to provoke, and to inspire. Her images remain etched in our minds, echoing the timeless dance of light and shadow, and inviting us to pause, reflect, and connect with the world in profound ways. Let us carry forward the message embodied in her work — that in the fleeting moments of life, there is a depth of connection and beauty waiting to be discovered. Thank you, Tatyana, for opening our eyes to the enduring connections that bind us all. VIEW TATYANA'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.

PICTORIAL STORY GOOD GRIEF In a series of intimate and poetic images, Shira Gold invites us into a deeply personal dialogue with loss — where nature becomes both mirror and guide. August 5, 2022 PICTORIAL STORY photography SHIRA GOLD story SHIRA GOLD introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link There was a time when the circle of life was experienced by family in the home. You were often birthed in the home, with family members providing much of the support and services. Families would many times experience the miracle of birth as well as the unthinkable, death due to complications of childbirth. The fragilities of life gave new understanding to the gift of receiving it, as well as the tragedy of losing it. Our elders often lived the end of their days in the comfort and familiarity of their home, with their loved ones at their side. Humanity has become detached from the process of life and death. We have been removed from the personal experience of bearing witness and providing care during these intimate times that give us understanding and meaning to life. In times of death it can provide closure, allowing the grieving process to begin through death, helping to move forward into the future to continue the circle of life. Shira Gold has found a way to grieve the loss of her mother through a fascinating exploration in a photography project she has titled Good Grief . With this project Shira explores in depth her process of grieving the loss of her mother. Shira’s photographs bear witness to her grieving process by perceiving nature as a reflection of herself, with an unspoken language that allowed her to make meaningful connections to the past, and the important disconnections needed to peacefully step forward into the future. Shira shares with us her intimate journey. Good Grief is a visual articulation of the profound personal transformations I underwent after the life-changing loss of my mother, Melanie Gold. Each series within the large body of work relates to a different stage in my response to loss — from numbness to isolation to resurfacing. As an interconnected essay, I illustrate the deep pain and vulnerability triggered by the loss of a loved one. Through landscape portraits, I explore the vast and intense range of emotions I faced in my grief journey. During my most difficult moments, nature provided me with understanding and an opportunity for expressing feelings that I struggled to identify. The process of realizing how nature offered a reflection of myself at every stage of my grief allowed me to recognize a form of visual vocabulary by which I could understand that painful negotiation between the memories of my past and the necessity of moving into my future. These photographs are my language, expressing a momentary sense of home when home as I once knew it was no longer accessible. Un-staged symbolism weaves throughout Good Grief like a cast of characters, reflecting key transitional points in my grieving and healing process. My grief is a continuing landscape. There is no beginning and end stage; it is ongoing. I ebb and flow through this collection. The process of observing and documenting the beauty in the pain is my applied therapy; the grief as expressed through natural landscapes gives testimony to nature’s extraordinary healing power and sense of sacred space. Such seemingly ordinary occurrences reflect powerfully the extent of human suffering and inspire our gradual resurfacing. The rise and fall — or birth and death journey — is in itself a natural cycle. Everyone eventually experiences it; it connects us to something far beyond our individual selves and ties us to one another. Like the giving and taking of nature itself, this inevitable journey can ignite empathy and understanding. Ultimately, it is up to us to choose to see the Good in our Grief . SHOCK The series of self-portraits in Shock depict my entry into mourning. At once private and confessional, its images expose the profound devastation I experienced with my mother's passing. In the aftermath of her death, my life was stripped bare, as though light and colour had been extracted from my world, rendering me alone in the darkness. I grasped for some way to live in a world without her guidance. These treescape portraits attend to the foreign and strained experience of suffocating under the loneliness of grief, while also feeling closed in and observed like an object of curiosity by well-intending loved ones offering sympathy. I yearned for my mother's presence while also leaning away from the solace of friendship. Each image in Shock is set against a stark black background — a contained terrarium of grief, observed in isolation. The beauty of the natural landscape sharply strikes against the darkness, a silhouette of longing, of solitude, even of hope — a document of the traumatic impact that marked the crisis of losing my mother. NUMBNESS A feeling of detachment can often follow the initial shock of losing a loved one. My series Numbness captures those physical and emotional deprivations that come on the heels of loss. The hazy, vacant beaches of Jericho — an expansive landscape in a moment of desolation — invoke the utter depletion I felt in my mourning. Images of beached logs rest like lifeless bodies, poles stand at attention, static and unadorned as if lost the haze and removed from the rest of the landscape, while tracks in the sand recall my state of dreamlike suspension, where it was hard to differentiate between being awake and asleep. Cloaked in the fog of loss, everything in my life appeared to remain sedated, even while time moved on. VULNERABILITY After the first cold splinters of reality began to break the numbness that dominated the early stages of my grief, I was met by a creeping awareness of life’s impermanence. Vulnerability responds to this preoccupation. As I realized my own helpless mortality, I became exhausted, seeing in everything around me symptoms of peril. To capture that emotional frailty, images of barren trees suggest nerve endings exposed to the danger of the elements. Their skeletal branches extend into the rolling fog and— like a person in mourning — they become muted by their surroundings, shrouded by a cloak of uncertainty. ISOLATION In the somber farmland between Pemberton and Lillooet, British Columbia, I found visual expression for the devouring sense of isolation that followed my loss. Forgoing a map, I drove along unfamiliar roads at the height of winter to lose myself in peaceful, remote snowscapes. Isolation focuses on the division I sensed between my-self-in-mourning and the rest of the world. Secluded spaces provided me with a backdrop for emotional rest and deep reparative work. The dream-like blanched palate signals purity and the unusual sense of calm I found at this juncture of my grief journey. This series reflects those places where my mind wandered, finding respite in a withdrawal from the busy pace of my body as it continued to go through the motions of daily life. SILENCE OF NOISE In grief, dichotomy and contradiction are pervasive. Grief can consume, while silence can deafen. My series Silence of Noise speaks to my experience of needing distractions to get my mind off of what I’d lost. Yet, even with this desire for diversion, whenever I encountered real noise, it seemed superfluous — empty chatter at odds with the debilitating pain I felt inside. In nature, snow absorbs both sound and silence. It can be difficult to detect the source of a noise, and the cacophony of the world becomes muffled beneath a blanket of white powder. The snowscapes in this series evoke my feeling of existing between two worlds. On one hand, I occupied the world of the living — surrounded by noise and vibrancy, conversation and community. On the other hand, I was cocooned in grief — a feeling that often muted the clamour of the living. In this sense, snow offers a metaphor for the buffer between my two modes of living — a pregnant pause between the deafening noise outside and the resounding silence of my private anguish. FIGHT OF FLIGHT When is it time to re-engage in life? What does that return look like? Fight of Flight brings into inspection my struggle with apprehension about re-entering the world after my loss. In many ways, it felt like it would be easier to bury my head in the sand than to reclaim my space in regular life. This series reflects that conflict, drawing on images of black birds to suggest feelings of contradiction. Many of us regard these birds as desperate and lonely, but they are also resourceful and free — wise with memories of a thousand small details from past encounters. These birds symbolizing my need to stretch my wings into the future, even as I am burdened by the lonely actuality of loss. To continue to live, it is impossible to remain stagnant — fighting my way to flight was the only means to move out of the confines of grief, taking my chance on life. RESURFACING Loss of life is absolute, but accepting these facts can feel impossible. I found it exceptionally difficult to surrender to the reality that the person who gave be life was now a part of my memory. Letting go came with an incredible sense of guilt, feeling as though I was abandoning the person I’d lost, even while I felt lost and abandoned myself. Acceptance and surrender allowed me to begin to slowly let go of the profound injury I carried with me for such a long time — feelings I held onto in order to remain connected to the past. With Resurfacing , I document the emancipatory transition from mourning to healing. Unlike the black birds of my previous series, the white birds of Resurfacing signal the release of past burdens. Each image depicts the emotional shift from darkness to light, highlighting a newfound sense of life and levity. The cracks of light that emerge after great mourning are depicted through muted hues. Sturdy rocks suggest the foundation of strength required for taking off into the world again, lifting into the air with all the promise of hope. The discovery of my own resilience during trauma was profoundly beautiful, and so human. To resurface after grief is to witness life in one of its most poetic states. My message in this series is that grief need not define us. It can simply reshape how we see and engage in the world. ON A WING I shot On a Wing not as a conclusion to my grief journey but as one of many phases that mourning can travel through. The series documents the spirit in all of us who continue to navigate life despite obstacles in our paths. The contrasting imagery of darkening skies atop a bright horizon demonstrates the tension that comes between past grief and future freedom. And, amidst that struggle, white birds flock to the sky — a community of light that surrounds those in grief, lifting us up until our own wings can bear us forward. 'Unbound Hold' - SHOCK © Shira Gold 'Exhale' - SHOCK © Shira Gold 'Dilapidated Wonder' - SHOCK © Shira Gold 'Devotion' - NUMBNESS © Shira Gold 'Comfortably Numb' - NUMBNESS © Shira Gold 'Leveled Impass' - NUMBNESS © Shira Gold 'Past Reflection' - VULNERABILITY © Shira Gold 'On and On' - ISOLATION © Shira Gold 'Slow Lean' - VULNERABILITY © Shira Gold 'Longtime Longing' - VULNERABILITY © Shira Gold 'Divide' - ISOLATION © Shira Gold 'Anyone of Us' - SILENCE OF NOISE © Shira Gold 'Open Spaces' - SILENCE OF NOISE © Shira Gold 'Give a Little' - SILENCE OF NOISE © Shira Gold 'Release' - FIGHT OF FLIGHT © Shira Gold 'Way Up' - FIGHT OF FLIGHT © Shira Gold 'This Way' - FIGHT OF FLIGHT © Shira Gold 'Mind the Distance' - RESURFACING © Shira Gold 'Perch' - RESURFACING © Shira Gold 'Way Up' - RESURFACING © Shira Gold 'Release Me' - ON A WING © Shira Gold 'I Will Fly Away' - ON A WING © Shira Gold Life is as much about discovery as it is about letting go, but my grief journey inexplicably altered the landscape of my life. Being swept up by grief shaped how I moved through the world, ultimately teaching me how to live better. In creating the series that make up Good Grief , I realized that this journey and healing process have no real end. They are now simply a part of who I am. These images are self-portraits. By capturing them, I have not only reclaimed my voice, but I have also realized that I am capable of feeling far more through the journey of shock, numbness, vulnerability, isolation, reengagement, and renewed living. In giving myself permission to breathe, to find support and to take time, I have discovered in myself threads of resilience, reflection, and fight that I never knew were there. These discoveries have allowed me to move forward to make a good life, to see the possibilities for a rich life. The process of creating this series led me to the realization that while we may not be in control of what life throws our way, we do choose how we view and engage with strife. I choose to find beauty in the breakdown. I choose to trust the wind, and to go with wings. view Shira's portfolio Read an interview with Shira >>> 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 >>> 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. 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.

FINDING THE MAGIC OF ISTANBUL Street photographer Emir Sevim finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks his world. FINDING THE MAGIC OF ISTANBUL January 28, 2022 INTERVIEW PHOTOGRAPHY Emir Sevim INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Istanbul is a place like no other, and it is through the eyes of its people that we see its beauty. One of those people is Emir Sevim, an Istanbul native and street photographer whose passion for his city shines through his work. Emir was born and raised in Istanbul, and it was during his university studies that he realized his love for photography. After taking a class in photography, he found himself inspired to explore the streets of Istanbul, and to capture its beauty in ways that only a local could see. Through his lens, he has been able to find the unique details and comparisons that come together to create the magic of Istanbul. In his six years as a street photographer, Emir has developed a unique style of photography that is infused with the energy and rhythm of his city. He captures the essence of Istanbul, creating images full of vibrancy and movement. As any native to a city knows, there is something special about being born in a place – something that cannot be captured by a casual observer. It is in this spirit that Emir captures his city, finding beauty and purpose in its inhabitants and its streets. Emir finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks Emir’s World. His images are a testament to its beauty and its brilliance, a reminder of the unique beat that rocks its streets. “Street photography is my passion. When I go out and take photos, I forget all my other troubles and surrender myself to the flow of the street, to the spirit of the street. Every photograph I take carries pieces of what I watch, read, people's feelings, movements, the rhythm, texture and spirit of the street. I am very lucky to live in Istanbul and take street photos. I hadn't noticed that Istanbul is such a magical city before I took my first photo. When I started to taking pictures, it was while I was getting lost in the streets, I realised how perfect this city really is.” IN CONVERSATION WITH EMIR SEVIM THE PICTORIAL LIST: Emir please tell us about yourself. How did you become interested in photography? EMIR SEVIM: I was born, grew up and live in Istanbul. My interest in photography started during my university years. While I was studying Sinem-TV department in 2011, we had a photography class. I took a camera and started taking photos. It was 5-6 years ago that I started taking street photography. TPL: When you are out photographing - how much of it is instinctual versus planned? ES: I don't make any plans while taking photos. In my understanding of street photography, photography should be natural. When I take a photo, I capture that moment and enjoy it. TPL: What are some tips or advice you would give yourself if you started street photography all over again? ES: I would have liked to have started my photography by taking street photos earlier on. I'm not too late, but sooner would be have been nice. Frankly, I wouldn't give any advice because I'm constantly taking photos and working hard on this. TPL: Do you have any favourite artists and photographers? ES: Lee Friedlander, Henri Cartier-Bresson, Alex Webb, Vivian Maier, Nikos Economopoulos, Josef Koudelka, Raymond Depardon, Bruce Davidson, Joel Meyerowitz. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? ES: I would choose Alex Webb. Because he has an amazing street photography book about my favorite photographer and the city I live in, Istanbul. It would be perfect to take photos with him on the streets of Istanbul. When I take a photo, I capture that moment and enjoy it. 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? ES: I love the equipment I use. Small, practical and fast. It makes my job on the street a lot easier and gives very good results. I don't think you need huge equipment. It is the photographer who takes the photo, not the camera. My equipment is the Fujifilm XT30 18mm f2. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? ES: As a photographer, of course, my goals are to produce something permanent. Making exhibitions, publishing books. I think the best thing a photographer can do is make a photo book. I am working every day to achieve these goals in the coming years. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? ES: There are several photo series I am currently working on. Those who are curious can see them on my website. I have an idea to make an exhibition or a book about these series in the future. TPL: "When I am not out photographing, I (like to)… ES: I like spending time with my family, traveling, watching movies, reading books." The story of Emir Sevim is a testament to the beauty and magic of Istanbul. Through his work, he has been able to capture the unique details and energy that make it so special. His photographs are a reminder that beauty is found in the everyday, and that there are people who love their city deeply and can share its unique beat with the world. Let’s all join Emir in his quest to capture the magic of our cities. VIEW EMIR'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.

PICTORIAL STORY ROCKETGIRL CHRONICLES In the face of uncertainty, these chronicles tell the story of a family's unwavering strength. It's a reflection on how courage grows in hard times — and how hope can rise, even when the odds seem insurmountable. November 28, 2021 PICTORIAL STORY photographs ANDREW ROVENKO story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For one family living in Melbourne, Australia while experiencing a sixth lockdown during a global pandemic, they made irreplaceable family experiences and fueled their creativity. Photographer Andrew Rovenko and his wife, Mariya, found inspiration in their daughter's imagination. Fueled by a mother and father’s love and devotion for their daughter, Rocketgirl Chronicles were born. The time spent together, and the connections they made are the true successes that will remain with them long after the pandemic is over. These adventures became the places where dreams really do come true, especially for Rocketgirl . Mia Rovenko is a four-year-old astronaut from earth, with a fascination with the night sky, the universe, and exploring her place in it. Andrew and Mariya felt that the lockdown was the perfect time to make their astronaut a helmet out of paper mâché and sew her a spacesuit to go with it. The empty landscapes and spaces of a city in its lockdown became other worlds in Mia’s universe or space stations and rocket ships. These chronicles document not only her curiosity and exploration in outer space, but gives her knowledge and a greater understanding and appreciation for the universe she lives in. Mia Rovenko was thirsty for knowledge of the universe. Andrew says, “Mia would constantly ask me to show videos, and read books about all things space. Facts about planets, their cores, temperatures, sizes. Then we would continue on to stars, nebulas, galaxies, and every object Mia became aware of.” Andrew admits that his new job as mission control for his little astronaut was challenging at times. Mia would question him to the extent he no longer had the answer, and he was thankful for google and a quick response. Their very first exploration to another planet was a neighbour's empty block of land overgrown with weeds, chosen because it was the closest alienated place Andrew says. When I asked Andrew how this photography project started, if there was a plan to take his camera and document the exploration, was it part of the mission? Andrew told me he never intended for this to be a photography project, so the camera did not have a special role, except to capture some valuable family memories. Even now they don’t always take the camera, and sometimes even if they do, not one photo is taken, holding those memories in their heart and soul. Andrew told me the locations are both spontaneous, as well as planned. He says, “Often we’d venture out somewhere where we planned, but found something even more interesting along the way and never reached the original destination.” Andrew says that some places that held more meaning than others were places that left a big first impression. They would revisit those places multiple times because he noted, “Repetition is one of the keys to learning. Unpredictable as to what will impress a child, a little experience can be a big experience.” Examples Andrew gives are a campfire on a beach, a taxi repair shop, and a floating dock that rises together with the tide. Andrew goes on to say, “They are portals to more questions, and learnings about how the world operates.” Mia’s mission is always the same, Exploration ! According to Andrew, “Going to the unknown, or semi unknown places, finding new things, figuring out how, what, and why, experimenting, trying, and learning is what inspired Mia. Then she would apply those learnings and conclusions from her experiments some more, in a way, no different to real scientists and astronauts. Mia is also using her imagination, thinking creatively, and critically, something that we often lose when we grow up.” I asked Andrew how the missions ended, he told me, “There’s no On , or Off , but Mia’s experiences are interwoven. In a way there is no pretense, or duality, it’s just Mia who is a little astronaut when she goes out on astronaut business.” Like most children, Andrew says, Mia is always wanting just one more exploration into her imagination, often extending her mission by a few hours. Sometimes Mia’s explorations led to terrific finds and geological specimens from the planets and universes she visited, like moon rocks, spaceship bolts, remote control sticks, and other miscellaneous objects of discovery that day. But as a respectful space traveler, Mia leaves nothing behind but the shadows of their footprints. When one looks at these images, they are solitary moments in a desolate forgotten landscape, void of humanity other than what we have left behind. Yet there is light on a young vulnerable face, reflecting the hopes and dreams of a bright future. Her youth and innocence protected from the past and present, remain the inspiration and catalyst for a better tomorrow. Andrew says, “For every parent, the future of their child is something that’s a constant worry, and also a hope. They go hand and hand and it's always been this way, especially in current times.” Andrew prefers the viewers to make their own interpretations of the work, without clouding their judgement allowing the viewer to determine their own perspective. For him, “All our perceptions are true to us because of our own personalities, experiences and biases, irrespectively of the author’s original intent.” Andrew believes there is no right or wrong, and if the photographs evoke emotion or provoke thought, that is all he could hope for. This project was a family collaboration, being a positive influence in difficult times, becoming the glue that is making impressionable family memories. The time they spent together and the connections they made, Andrew feels are priceless, especially at that age. He firmly believes, “As bad as the pandemic is, everything has positives, and in some cases even outweigh the negatives.” The pandemic has allowed the opportunity for Andrew to stay and work from home, making his commute to work time, their adventure time. Andrew and Mariya hope that the connections they have all built, will remain with them all for a lifetime. These chronicles are a tribute to a family's strength in hard times, and inspiration on how to find the possible in the seemingly impossible. 'The Hangar' © Andrew Rovenko 'The Landfield' © Andrew Rovenko 'Lonely Games' © Andrew Rovenko 'Rover' © Andrew Rovenko 'Rocketgirl' © Andrew Rovenko 'Long Distance Call' © Andrew Rovenko 'The Facility' © Andrew Rovenko 'Beetle' © Andrew Rovenko 'City Line' © Andrew Rovenko 'Mariner Mission' © Andrew Rovenko 'The Block' © Andrew Rovenko 'Homecoming' © Andrew Rovenko 'Firekeeper' © Andrew Rovenko Andrew Rovenko is a photographer and creative technologist, originally from Odessa, Ukraine. Andrew moved to Melbourne, Australia more than fifteen years ago, where he now works and lives. Andrew started his family here and shares his life with his wife Mariya, an artist with a degree in theater costume design, and his four-year-old daughter Mia, Rocketgirl . view Andrew's portfolio Read an interview with Andrew >>> 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 >>> 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. 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.

I've had a love for street photography since I was a child, long before I knew it had a name. Not until 2017 did I take up the challenge of photographing in the streets myself. I'm drawn to ordinary people doing ordinary things. To me, it’s all extraordinary - emotion, gesture, connection, and humor. I believe that we humans are much more alike than we are different, and hopefully my photos remind people of that. I have been exhibited in Washington DC, New York, Miami, San Francisco, Paris, Trieste, and Sydney. I am part of the Women in Street Collective, DC Street Photography Collective and Optic Nerve Collective. MARCI LINDSAY I've had a love for street photography since I was a child, long before I knew it had a name. Not until 2017 did I take up the challenge of photographing in the streets myself. I'm drawn to ordinary people doing ordinary things. To me, it’s all extraordinary - emotion, gesture, connection, and humor. I believe that we humans are much more alike than we are different, and hopefully my photos remind people of that. I have been exhibited in Washington DC, New York, Miami, San Francisco, Paris, Trieste, and Sydney. I am part of the Women in Street Collective, DC Street Photography Collective and Optic Nerve Collective. LOCATION Washington DC USA CAMERA/S Fuji X-T3 WEBSITE http://www.marcislindsay.com/ @MARCISLINDSAY FEATURES // The Extraordinary Ordinary

Jasper is a calm and collected street photographer who has built a name for himself in street photography and whose works have been recognized and featured by various local and international publications both online and in print. His street photography started as a result of reaching a plateau in his creative growth. After exploring various genres in photography, he discovered the works of Magnum photographers Henri Cartier-Bresson, Alex Webb, David Alan Harvey and Harry Gruyaert. Their style of documenting the world blew him away. In 2012, in part thanks to their inspiration, he started seeing the world through a different lens. Since then, street photography has become his genre of choice. When he is not out there practicing street photography, he is wearing his corporate HR hat or doting on his son giving the little tyke basics on photography or simply enjoying his cup of coffee with his wife and creative partner, with his camera in tow just in case. JASPER TEJANO Jasper is a calm and collected street photographer who has built a name for himself in street photography and whose works have been recognized and featured by various local and international publications both online and in print. His street photography started as a result of reaching a plateau in his creative growth. After exploring various genres in photography, he discovered the works of Magnum photographers Henri Cartier-Bresson, Alex Webb, David Alan Harvey and Harry Gruyaert. Their style of documenting the world blew him away. In 2012, in part thanks to their inspiration, he started seeing the world through a different lens. Since then, street photography has become his genre of choice. When he is not out there practicing street photography, he is wearing his corporate HR hat or doting on his son giving the little tyke basics on photography or simply enjoying his cup of coffee with his wife and creative partner, with his camera in tow just in case. LOCATION PHILIPPINES CAMERA/S Olympus OM-D E-M10ii, Ricoh GR2, iPhone WEBSITE http://www.jaspertejano.onuniverse.com @JASPERTEJANO FEATURES // Creative Focus

I am a graduate of Hindu College, University of Delhi, with a background in history and political science. I am an emerging documentary filmmaker and photographer with a keen interest in exploring cultural heritage, community narratives, and socio-anthropological themes. My photography focuses on capturing the interplay of tradition and modernity, emphasizing human stories with visual depth and cultural sensitivity. My approach combines immersive research with thoughtful composition, aiming to document the essence of underrepresented communities and their lived realities. ABDULLA SHINOSE CK I am a graduate of Hindu College, University of Delhi, with a background in history and political science. I am an emerging documentary filmmaker and photographer with a keen interest in exploring cultural heritage, community narratives, and socio-anthropological themes. My photography focuses on capturing the interplay of tradition and modernity, emphasizing human stories with visual depth and cultural sensitivity. My approach combines immersive research with thoughtful composition, aiming to document the essence of underrepresented communities and their lived realities. LOCATION Malabar INDIA CAMERA/S Nikon 5600D, Apple iPhone @ABDULLA.SHINOSE FEATURES // Clay and Ashes

I am a documentary photographer. Born in 1993 in the village of Pokrovo-Prigorodnoye, Tambov Oblast, I have been living in Moscow since 2015. My personal projects are focused on social inequality and inclusivity topic. ANASTASIYA PENTYUKHINA I am a documentary photographer. Born in 1993 in the village of Pokrovo-Prigorodnoye, Tambov Oblast, I have been living in Moscow since 2015. My personal projects are focused on social inequality and inclusivity topic. LOCATION Moscow RUSSIA CAMERA/S Canon 6Dii WEBSITE https://anapent.com/ @ARONSANTAGAR FEATURES // Blindfold Chess

PICTORIAL STORY LONDON CALLING SHOOTING STREET IN 1964 June 5, 2020 PICTORIAL STORY Photography by Carl Lindhe Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link London in the 1960s was undergoing a lot of social changes, there was economic growth, the Beatles, the Kinks and the Rolling Stones topped the music charts. Carl Lindhe was a young Swedish man, fresh out of vocational school, ready to embark on his photographic career. Some months ago, I stumbled upon his wonderful street photography from London in 1964. Those photos have a vibrant classic documentary character, they transport the viewer back in time to a London that is still somewhat recognisable, while telling stories of days gone by. I wanted to find out more, and Carl graciously agreed to let me interview him for a Pictorial Story. OFF ON A JOURNEYMAN'S ADVENTURE After spending two years training as a photographer in Stockholm, Carl and his friend Leif decided to broaden their horizon - to gain experience and improve their craft. They decided to apply for internships abroad. Since both liked what they had seen of England in books and movies, and with the assistance of the Swedish Association of Professional Photographers they managed to contact some photo studios in England. And they got lucky. Leif ended up in Birmingham, while Carl got a job as assistant at a very large photo studio, Woburn Studios in Brewery Road, London. There were seven staff photographers, each in a separate studio with two assistants, shooting commercial pictures, anything from perfume bottles to specially built interiors. “The seven studios were named after Greek gods. The biggest one, which was called Palatine, could have swallowed fifty London Double Decker buses,” Carl recalls. Carl feels lucky to have been assigned to a very good photographer at the Aurora studio, Dennis Anthony, who later became chief photographer at Ilford Photo. The 1960s were a great time for magazines such as Life, Paris Match, German Twen, Zoom, Camera, and many more, not to forget all the fashion magazines. Carl thought working as a freelance photographer for one of them would be his ultimate dream job. “These magazines inspired me a lot,” he says. "David Bailey was on top, and Norman Parkinson, the fashion photographer whose house we (me and my guru Dennis Anthony) bowed to, was still kicking." Woburn Studios Ltd no longer exists, but on the same location there now seems to be a rental studio for commercial photography and video making, something called Big Sky Studios. HITTING THE STREETS ON FOOT On weekends, Carl had time off, time that he used to walk the streets and take pictures. He could not get enough of it. “I shot some of my best pictures in Petticoat Lane,” he says. “Again - hustle and bustle, atmosphere, vibrant life in the streets.” “I didn’t earn much (with no money left at the end of the week I lived on Limmits Slimming Biscuits until payday), so when the rent was paid I had little money left, which I did not want to spend on bus tickets. Walking, taking pictures. Walking, taking pictures,” says Carl. Everything seemed interesting and sometimes amusing. The Speaker's Corner, for example, provided an odd assortment of one of a kind characters. “Listening to them was fun and most of them willingly let me photograph them. Not only let me, but encouraged me! There were many serious speakers as well of course.” Before digital cameras arrived, and before social media platforms such as Instagram made it globally popular, street photography was less common. Carl thinks that those who did it took it more seriously. For him it is not enough to be taking a picture of somebody just standing there on the pavement doing nothing, or photographing someone with a pretty face. The picture has to tell a story, preferably trigger the viewer's mind to see something beyond the image itself. Carl's photos certainly do that for me. I asked him how people reacted to being photographed. “Well, if they noticed me and my camera, I don't think they disliked it. Nobody told me to piss off. But many of my pictures are shot from the hip, so people often didn't realise what was happening. It was a bit tricky though, aiming the camera right. Lots of could-have-been-a-smashing-picture got lost, but a few turned out very good.” Nowadays, Carl uses only digital cameras for his street photography. Although he was reticent about it at first, he now loves the amenities of the digital era. “No darkroom necessary, no more shirts destroyed by chemicals, no more stained fingers. And sitting by the computer I can easily find my cup of coffee,” he says. He admits to once ruining a very good timer device in the lab by accidentally pouring a cup of coffee over it in the pitch dark. Carl also did not enjoy retouching pictures with ink and small brushes. “Inside me I am certainly still full of ink from licking the brush to get a fine tip,” he jokes. “Working on a computer you can just click all the spots away as if by magic.” For actual shooting though, things have pretty much stayed the same for Carl. Watching, aiming, pressing the shutter button, the process does not change. Except that back in 1964 you had to set exposure and focus manually. Using separate exposure meters slowed things down too. Today all cameras can at least take care of focus and exposure, which is good when you have to be quick. “You can fire off immediately. I do remember a few times when I missed a good picture because I had to set the camera manually.” What he also prefers now are the geotagging possibilities of modern cameras - the photographer no longer has to remember where a picture was shot. “Now, after all these years, I curse myself for not having written down where I shot my pics in 1964. For a few of them I know where they were taken, and I have amused myself with Google Earth to track the places down to see what they look like today. Many places have changed shape today, not always to their advantage.” Another problem was that when shooting on film, you were limited by the number of rolls you had with you. A 35mm film roll contained 36 frames (or 24), a 120 roll only 12 frames. Memory cards today can hold thousands of photos. That is good, but can also be a drawback, as many people tend to shoot without reflection of the message they actually want to convey. COAL, CINEMA AND PUBS Life in London was different from life in Sweden, but also in many ways similar. I asked Carl how London compared to his home country at that time. When Carl and his friend arrived in England by boat (at Tilbury), their first impression was the heavy smell of coal. Carl got used to it later, as coal fired heaters were very common in England at the time. Some of what appears to be fog (and London is indeed naturally foggy because of the River Thames) in old photographs may actually be smog. The famous coal burning induced “Great Smog”, a four day event in 1952, killed some 4000 Londoners and made 100,000 seriously ill. By the time Carl came to London, the situation had improved, after the 1956 Clean Air Act restricted the areas where coal could be burned in UK cities - but there was still a lot of coal burning going on. “London is cleaner nowadays and the burning of coal has stopped. We did have the yellow thick fog a couple of times in 1964. Dennis, my mentor, used to wear a military gas mask those days and I know the fog took many lives among people with lung and heart diseases.” (It has only been announced recently though that the sales of the two most polluting fuels, wet wood and coal for home stoves will be phased out in England to help cut air pollution by 2023). Be that as it may, Carl thought London was great, lots of people, hustle and bustle everywhere. It was his first trip abroad, and everything seemed new and fascinating. He rented a room in Orleans Road. Thinking back on his old neighbourhood, Carl says, “I thought 'Orleans Road' sounded so exotic. Not to mention the 'Black Lion Yard' where one of my English friends had a flat.” In some ways London was not that different from Stockholm. “Well, it was the sixties in Sweden too, of course. A time when youths created a new era never seen before. A clean cut from our parents generation. Many had revolutionary ideas. The sexual revolution. A new lifestyle emerged, and I think we all felt free,” he remembers. So in that sense Sweden was similar to London, but on a much smaller scale. “But, and that is essential,” he continues, “we had no pubs in Sweden. Instead we had lots of bakeries and confectioneries almost in every street corner and we sat there eating cake and drinking coffee. I very soon learned to appreciate the London pubs with not only beer but steak and kidney pies and cheese plates.” Despite his limited finances, Carl managed to see some films at London cinemas, which was quite a different experience from his frequent cinema visits in Stockholm. “I remember West Side Story was on show, and you could enter the theatre at any time. I happened to take my seat twenty minutes before the end of the movie. Had to close my eyes and ears until the movie started all over again. They ran it more or less nonstop.” You could buy sweets and cigarettes from girls walking around in the cinema auditorium. You were even allowed to smoke the cigarettes while watching the movie. Very different from the cinemas in Sweden. To look cool, I smoked Gauloise - the most dangerous cigarette of them all. Also, Rothmans without filters. Nearly as bad. Stupid me. Stopped smoking twenty years ago.” He also thought it rather odd that, after the last show in the evening, everybody stood up and waited, motionless, while the speakers played God Save the Queen . The young Swede ended up spending a full year in London. “Minus one day, I should add, which allowed me to get all my paid tax money back.” He returned for visits with his wife Marscha in 1965 and 1969, and then again in 2013 and 2017. His former mentor Dennis Anthony is now over ninety years old. Seeing the old familiar places was nice, though many of the places he used to see no longer exist. “What I don't like is that the house I lived in, 13 Orleans Road, was knocked down. Not only the building but the whole street was just gone, which was a disappointment to me when I was going to show my wife where I had lived. Those things are unforgivable and I hope the culprits rotate in their graves!” He also notes that there were a lot fewer homeless people in London's streets in 1964 than he noticed in 2017. LESS IS MORE: ANALOG LESSONS FOR THE DIGITAL AGE In analog times, when you found your motif, you just had to wait for the right moment to press the button. “With the Hasselblad I got only twelve frames. I had to use them with care. No unnecessary shots.” Unlike with digital cameras, firing away like a machine gun could get extremely expensive. Most often it is one single moment alone that makes the picture. And, Carl thinks, it is worth selecting carefully what you want to show. In his view, false “creativity”, such as simply turning a bad or meaningless photo upside down or turning it into black and white in an attempt to make it more interesting, something he sees quite a lot on Instagram, is absurd. Nor does it help to publish your pic in both b/w and color. Instead, Carl thinks, photographers should make up their mind and decide which version they prefer and just show that one to the public. Less is more. “You should not be afraid of throwing away the not so good pictures. Better to show a few good ones than hundreds of bad ones. On Instagram I have seen people publishing thousands of pictures and it can still be impossible to find even one worth looking at for a bit longer.” On board Britannia sailing from Gothenberg to Tilbury, 1964. © Carl Lindhe Dennis in the Aurora Studio © Carl Lindhe Dennis in the Palatine Studio © Carl Lindhe A Woburn Studios shoot for an advertisement of the Hillman car. © Carl Lindhe Speaker's Corner, 1964 © Carl Lindhe The End is at Hand © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe © Carl Lindhe Carl London's street photos to me are truly special in their authenticity. True to his credo, there is nothing staged or manipulated about them. He now regularly publishes old London pictures on his Instagram gallery. 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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 UNITED KINGDOM CAMERA/S Canon EOS 2D mark ii WEBSITE http://www.indicacamera.com @CATNAYLORLEYLAND FEATURES // Joy and That Something Magical in India

I am a Filipino expatriate currently living in Singapore. I have been only photographing for a few months. I still consider myself as a beginner in this journey. I shoot light and shadows, so most my photos are dominated by black, black and mostly black. MICHAEL CAPULONG I am a Filipino expatriate currently living in Singapore. I have been only photographing for a few months. I still consider myself as a beginner in this journey. I shoot light and shadows, so most my photos are dominated by black, black and mostly black. LOCATION SINGAPORE CAMERA/S Sony A6400/A6000 @AVERAGEBALD FEATURES // Contrast to Darkness