INTERVIEW INTERVIEW July 13, 2020 ARTISTIC SPIRIT Photography by Ovidiu Selaru Interview by Melanie Meggs Ovidiu Selaru is an artist with a dream. Born and raised in a family of creatives in the north of Romania, Ovidiu was inspired from a young age to nurture his love for photography, dreaming of one day becoming an artist just like his father. Now, after ten years of living in London, he has found his passion again and is paying tribute to his father’s talent and artistic spirit through his intriguing black-and-white photography. With an ‘eternal snapshot’ twist, Ovidiu is always looking for new perspectives, eagerly playing with angles and drawing on the architectural geometry of the spaces around him. He is guided by his artistic instincts and has become a master of capturing the world in an unforgettable way. A true dreamer, explore the marvelous world of Ovidiu Selaru’s photography and get lost in his captivating visions. “I used to watch my father painting and create his amazing drawings on canvas. I first dreamt of becoming an artist, just like my father...it never happened, I felt I was never as good as he was. I pay homage to his talent and artistic spirit through my work today. I started releasing my creative flows in photography about nine years ago when out of the sudden I have began collecting emotions through the lens of my camera.” IN CONVERSATION WITH OVIDIU SELARU THE PICTORIAL LIST: Ovidiu, where do you find your inspiration to photograph? OVIDIU SELARU: From movies and real life. People say that one photo means more than a 1,000 words...I like saying that beauty in photography cannot be limited by words. I do not narrow down my interests into strictly portrait or landscape niches, I just seek new perspectives, I play with angles and architectural geometry of space around me. I only rely on my instinct, I do not rationalize a move or a motion...I rarely set expectations, I just let nature do its job...The sixth sense cannot be explained, talent cannot be x-rayed, and so heartfelt art cannot be disliked...I feel inspired by many things and people around me, I learn new photo techniques every day. All of this allows me to grow and develop my skills. TPL: Has your style of photographing changed since you first started? OS: Yes. In the first five years of my photography career I used to photograph landscapes, cityscapes, portraits and wedding. But, in the in the last five years I’ve resonated more with Minimalist Street Photography for which I’ve found my own style and is part of who I am today. I like capturing the quintessence of someone's inner beauty and nostalgia. I feel I have a different experience than the classic stream as my models often tell me that I can metaphorically transpose their souls into black and white memorabilia, which lasts for eternity. All my portraits capture a unique artistic trait, they all, defined most clearly and more simply my creative patterns. TPL: Where is your favourite place(s) to photograph? OS: London. My camera is my best companion on the streets of London and I never miss an opportunity to capture the special flavour of an after-rain street landscape or the unspoken charm of a surprising sunset. TPL: Do you have any favourite artists or photographers you would like to share with us? OS: My favourite artist is Fan Ho because his style was unique. TPL: Have you ever been involved in the arts before photography? OS: I was born and raised in an artsy family. My love for landscaping and passion to create things with my own hands have always been nurtured and encouraged by my parents. Follow your heart, follow your instinct, and you will never fail to voyage your unique journey from a simple passion to the complex form of communication. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? OS: No, equipment is not important. So the advice I would give is that photography starts from within. They should focus on the style that they want to photograph and a minimum entry level equipment is sufficient. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? OS: This year’s Special Project that I’m currently working on is photography out and around my house, discovering new places. TPL: "If I wasn't photographing what would I be doing? OS: Maybe a fisherman." Ovidiu Selaru is a passionate artist who is inspired by his father's talent and his own creative instincts. His unique “eternal snapshot” take on photography has made him a master of capturing the world in an unforgettable way. It is incredible to observe the beauty his creative eye can bring out of even the most mundane scenes. We thank Ovidiu for his dedication to exploring and developing his artistry, and urge everyone to explore the marvelous world of his photography and get lost in his captivating visions. VIEW OVIDIU'S PORTFOLIO Ovidiu's website >>> Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW July 17, 2020 THE HUMAN STAGE Photography by Pradip K. Mazumder Interview by Karin Svadlenak Gomez Pradip K. Mazumder is an American photographer of Indian origin, based in Northern Virginia, USA. He grew up in Kolkata, India, and came to the USA on a job visa, back in 1998. He has been taking pictures since the 1980s. His initial inspiration came from the Indian filmmaker Satyajit Ray. From his films, Pradip learned the fundamentals of photography, cinematography, composition, lighting, and many other essential techniques. Pradip recently shared a story about life along the river Ganges with us. In this interview we took the opportunity to ask him about his photography. “My interest lies more towards the ‘real-world street scenarios’, the present-day society we live in, and how we interact with others in a public place.” IN CONVERSATION WITH PRADIP K. MAZUMDER THE PICTORIAL LIST: Pradip please tell us about yourself. When did you start getting interested in photography? PRADIP K. MAZUMDER: My family and I are based in Northern Virginia, close to Washington, DC, USA. I grew up in Kolkata, India, and came to the USA on a job visa, back in 1998. By profession, I work in the IT industry. It was around the mid-80s when my cousin introduced me to photography. An Agfa Isolette III folding camera from my uncle and the intricacies of aperture, shutter speed, film speed, focus, depth of field…was overly complicated in the beginning! I gradually ventured into the 35mm SLR world with a Pentax K1000 camera, which I still miss from time to time. It was a fully manual mode camera (both exposure and focus) with a 50mm normal lens, and that is how my photography has been shaped. Even today, I shoot mostly in manual exposure mode. Those days, I used to buy B&W 'cut film', which is the leftover film from the BnW movies spooled into 35mm film cassettes, and which local photography stores used to sell at a much cheaper price, compared to the branded ones. I used to get an 8”x 10” sheet print done, from the 36 exposure B&W negatives, and choose from there, the ones I would like to get a print done. The luxury of taking multiple shots at a given scene was limited at that time, so I used to choose my composition very carefully. Gradually, I moved to color negatives, and color transparencies, which was my favorite medium, before moving to the digital format, at a much later time. TPL: Where do you find your inspiration? PKM: I am a big fan of the legendary Indian filmmaker, Satyajit Ray. Watching his films is like learning the fundamentals of photography, cinematography, composition, lighting, and many other essential techniques of moviemaking. He used to do the storyboarding himself using hand sketches, as well as marking the optimal camera position based on the arrangement of the elements and subjects within the frame. He was a master storyteller, as his films are often referred to as “poetry in celluloid” and is typically about humans, humanity, human relationships, and interactions (both external and internal). Ray’s films have always been a big source of inspiration for me, which I think has influenced my photographic style, particularly the visual storytelling aspect, and in terms of the composition, lighting, and the ‘human element’ factor. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PKM: Apart from Satyajit Ray and Raghubir Singh, I got highly influenced by Raghu Rai, the legendary Indian photographer, and photojournalist. He was a protégé of Henri Cartier-Bresson, who introduced Rai to the Magnum Photos. I remember meeting him once in Kolkata, where he came for the inauguration of a photographic exhibition, where one of my images got selected. That is a prized moment for me. In Kolkata, I used to go to the Photography Clubs, and that is how I got introduced to Henri Cartier-Bresson and his style of “decisive moment” photography. That was such an overwhelming experience for me, as it was a photographic genre that I was not aware of. For me, to describe it correctly, I would have to use the words of Cartier-Bresson himself, “Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.” Thus started my love for street photography, which to date continues. Another aspect of Cartier-Bresson that amazes me is his work on portraits. I found this book “Henri Cartier-Bresson Portraits” in a used bookstore in Kolkata, and it is still one of my prized possessions. How an environment or the surroundings can play a role in portraying the personality of an individual… This book is a classic example of that. Out of the several iconic images in that book, one picture stands out to me that of Jean-Paul Sartre, smoking a pipe. The image reveals so much about the personality of Sartre himself. I very much love and admire the work of Steve McCurry, who to me, is an institution by himself, and the real living legend in the world of photography today. Looking at his works reminds me of the films of Ray that share the same philosophy of narrating fascinating visual stories, always with the intriguing ‘human touch’ in them. I own many of Steve McCurry’s books and to go over his images, their appeal, and attractiveness, I feel calls for a much bigger discussion. My favorite image by him is the one titled “Boy in mid-flight”, which was shot in Jodhpur, India. It is such a dynamic, well-composed, and gripping image you can feel all the tension going on in that particular scene. To this day, I find it nothing but breathtaking. TPL: Who do you think has most inspired your style? PKM: All of the great visual storytellers, as mentioned above e.g. Satyajit Ray, Raghu Rai, Raghubir Singh, Henri Cartier-Bresson, Steve McCurry… all of them have big influences on my style of photography and my thought process, the way I look at the world through my lens. Instagram has put me back in photography, particularly street photography. After moving to the US, I got busy with my career in IT, settling down, raising our kids, going over the immigration/citizenship process that otherwise put photography in the backstage. I was doing casual photography, mostly of family and friends. However, sometime in early 2018 was when my wife presented me with a Nikon DSLR, which revived my interest in photography. Somebody then pointed me to Instagram which opened up a whole new world around me. I discovered a platform where you can share your work and interact with fellow photographers and audiences globally and realized the enthusiasm and interest in street photography, along with the prospect of interacting with some of your favorite photographers, which would have otherwise not been possible. I started seeing more and more works of Steve McCurry, and my admiration grew for him and his work. I felt so excited when he liked my work or commented on the pictures! In the same way, I came across the work of Bryan Peterson, the bestselling author of so many photography books, and whom I consider my mentor and a real Guru (i.e. a Teacher). There is a saying in Sanskrit, “Knowledge is such a precious wealth, that no one can take it away from you, and it grows, the more you spread it!”. Bryan’s knowledge in photography, to me, fits in perfectly with that quote. If you follow his Instagram feed, you will see that he is always teaching and always sharing his wealth of knowledge so that others can benefit from it. To me, this comes from his genuine love for the art of photography. In my social media experience, I have seen/followed the work of many renowned photographers around the globe and have found Bryan to be unique in this respect! He has always been kind enough to point out some of the key elements in my photography that have helped me to critically analyze my images. I own several of Brian's books, and among them ‘Understanding Exposure’ and ‘Learning to See Creatively’, are my favorite ones. TPL: What do you love about street photography? PKM: With the human element, and with a strong emphasis on the visual storytelling aspect. To me, it is not just shooting scenes like silhouettes against brightly lit colorful backgrounds, which seems to be quite popular in Instagram. My interest lies more towards the ‘real-world street scenarios’, the present-day society we live in, and how we interact with others in a public place. The other thing that I have noticed in Instagram, in the street photography circles, people categorize themselves as color or B&W photographers. I love to categorize myself, as just a photographer, rather a visual storyteller. It is the subject which is paramount to me which dictates whether it would fit in better in color or B&W. So, I have no bias towards any of them, rather I try to go by the contents in a given scene. In my experience though, I have found color street photography to be more challenging than B&W. Within the color frames, there needs to be a harmony among the colors, and sometimes the presence of a dominant color can drag the eye away from the main subject. TPL: Has your style of photographing changed since you first started? PKM: Not really. I have always been interested in capturing the candid shot of people in an outdoor location, which I still do. Previously, I used to shoot trees, in various shapes and forms, and mostly in B&W, which I do not do too often these days. In the street genre itself, when I am not shooting people, the next most interesting subject for me is birds, or more precisely, city birds and how they fit in an urban landscape. Dogs come next, as I naturally have an affinity for both of these wonderful creatures. What has changed for me over the years is the realization of the importance of light in a photographic image, more so in candid street photography. True, there can be no image without light, the word ‘Photography’ from its Greek origin meant “drawing with light” … it is not just light, but the quality of natural light hitting a subject can make all the difference. Sometimes I have felt that “light” itself is the subject of my image, and if I take away that particular light, the image loses its appeal. I always find myself chasing the light, trying to capture some fleeting moments around me before they are lost in the ripple of time. TPL: Do you have a favorite place(s) to photograph? PKM: I would say, New York and Kolkata. To me, both these cities have amazing people and an amazing sense of energy. TPL: How did you have the idea of documenting life along the river in Kolkata? PKM: “The Ganges” by Raghubir Singh, is one of my favorite books on Photography. The book tracks the entire path of the Ganges, from its origin in the Himalayas to its final destination in the Bay of Bengal (a journey of 2600 km). This book is backed by the exquisite photography of people along the banks, whose lifestyle, culture, religion, and habits have been shaped by the river for generations. When I was in Kolkata last January, I did not plan to do a series on life along the river Ganges. I did quite a bit of photography in Kolkata, and the life around the Ganges was a part of it. When I was looking at the images, later on, the idea came to put it in a series and write a story about it. I specifically wanted to highlight the richness in diversity and character of the people in Kolkata, whose lifestyle is very much intertwined with that of the river. Since I am unable to do a whole series like Raghubir Singh, I had to settle for just a part! TPL: Often you focus really closely on people in your street photography. How do you go about it? PKM: In a busy street intersection what I love doing is mixing with the crowd, up to an extent that nobody is paying attention to me. I love the feeling that I am part of the crowd itself. From there, if I come across the right scene that provides a backdrop for a story, I typically take quick shots. Whether or not I am carrying a camera, I am always capturing images in my mind. I am always looking for an angle, and in the absence of a viewfinder, I use my fingers to do a look through. Street photography has to be done quickly, and it does not always give a second chance. As Cartier-Bresson mentioned, the eye must be trained to identify a composition, or a fleeting moment, and then the intuition to click the shutter at the right instant. The look-through process helps me towards framing my images quickly. TPL: What camera/s do you use? Do you have a preferred lens/focal length? What characteristics do you think you need to become a good photographer? Any tips or advice for someone just starting out? PKM: A fast lens helps in street photography, and I typically use a Nikon D5600 with a 35mm f/1.8 lens. Sometimes I use my wife’s mirrorless camera i.e. a Fujifilm X-T3 with a 23mm f/2 lens. I prefer to shoot in raw mode and use LightRoom for image processing. Since I do street photography, I am a firm believer in the term, “if it has to be a street, it has to be candid!” Observation, sensitivity, and visual representation of a storyline... I believe these are some of the key attributes of a good street/documentary photographer. A successful visual storyteller needs to be aware of what is happening in the society around her/him and has the compassion to record it truthfully and artistically. For someone just starting, I would say, see if you are passionate about photography since, in the long term, we would only continue something that we are passionate about. Identify the genre that excites you. In the beginning, you can try out with over one genre and see which are the ones you love the best. Once you are ready to share your work publicly, create an account on Instagram, and study some successful accounts and how they organize their feeds. Try to keep your feed focused on one genre only in an account, otherwise, people might get confused. If you cover multiple genres, you could think about separate accounts. Furthermore, use relevant hashtags, as they can help reach out to your photography outside your circle. In the beginning, you may not get enough Likes or Followers, but please do not get disheartened with that and leave your hobby. Keep on doing your good work, without even looking at the numbers, and you will get noticed over time. TPL: Are there any special projects you are currently working on? PKM: I did some work on the theme, “Chasing the light” in New York, and Washington, DC. I plan to do some more work on that and make some online presentations. TPL: “When I am not out photographing, I… PKM: Most of my free time goes to my two dogs. We have two of them, Frosty (a Bichon Frise), and Hershey (a poodle)...the cutest, most lovable companions that one can ever wish for. They are just like our family members, so much so that it is hard to stay without them for a single day!” Pradip K. Mazumder is a wonderful example of an artist who has dedicated his life and work to capturing the beauty of life. His passion and commitment to photography is truly inspiring and offers viewers a glimpse into a different world. Pradip's work is both captivating and timeless. To get a better understanding of Pradip and his work, press on the links below. VIEW PRADIP'S PORTFOLIO Read THE HOLY RIVER by Pradip Pradip's website >>> Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW January 25, 2021 THE HUMAN ELEMENT Photography by Kenneth Nederskov Petersen Interview by Karin Svadlenak Gomez For Kenneth Nederskov Petersen, photography is a way of life. This year has been a challenging one, as his normal style of street photography has been put on hold in light of the pandemic. Instead, Kenneth has turned his lens towards the muted beauty of architecture, capturing it in the lonely night streets. However, as the year draws to a close, Kenneth is looking forward to a future where he can once again return to the hustle and bustle of street photography with a sense of freedom and artistic expression. “I received my first camera at my Christian confirmation. My uncle was a good photographer and was my inspiration. But the learning curve was difficult. The challenge was not to see the result instantly. Everything changed for me when digital was the new standard. Now I could see the result immediately.” IN CONVERSATION WITH KENNETH NEDERSKOV PETERSEN THE PICTORIAL LIST: Kenneth, where do you find your inspiration to photograph? KENNETH NEDERSKOV PETERSEN: Hmm...they come from all over. Books, movies, architecture, music, life itself. I cannot stop photographing, so I do not think too much about this. There is an element of hunting in it too. Street photography is not necessarily the easiest genre. You can come home with no good pictures. The more satisfying it is when you come home with something worth sharing. TPL: What has been the best advice you have ever received in photography? KNP: Photograph the things that interest you, and do not photograph what you might believe interest most people. If the passion is not there, the struggle will be bigger, and the pleasure smaller. I do not live from my photography, so it might be easy for me to say that. TPL: Do you have any favourite spots to go photographing? How has the pandemic affected you and your photography? KNP: Copenhagen is where I feel at home with my photography. Around the harbor line, the train and metro stations, in parks and more. The pandemic has turned my photography upside down. My wife is kind of exposed at her job where she is looking after small children and my kids are in school. I am working from home (as a purchaser of spare parts for buses and trucks) and I try to be the one less exposed to the virus. This is stopping me from going onto public transport and to be at places with many people - this left me with lots of frustration. I then started a night photography project by going out in the dark with my tripod and taking long exposures of architecture and buildings in the local areas. This is just the opposite of street photography and has been a very fun and giving project. TPL: What is it that you enjoy about street photography? What happens when you walk the street with your camera? Explain your technique. How do people generally respond? KNP: Street photography captures a glimpse and a moment of life that happens just as you click the shutter. If you are lucky, then you document the time of year and/or the decade of a time. You can also capture something beautiful, something about the country and area, something very human, colors, light and much more. When I walk with my camera, I am in a mental zone. I am more aware and more alert. I get the best results when I am alone. I try to be quiet, to blend in, or act as a tourist, I smile or just pretend that I am interested in other things than my subject, or even shoot from the hip. At events like demonstrations, I pretend to belong there as an official which allows me to get close and photograph portraits. My smaller and old school looking camera makes me less intimidating than running around with a large camera body and a big telephoto lens. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? KNP: The human element is important in my photography. But there can also be something very graphic pleasing and mathematically satisfactory with symmetry or when things are in a certain order in a picture. And then again chaos can be as satisfactory, if that is what I see in a situation. Architecture has also been a part of my photography recently. Copenhagen is in constant development with new buildings and exciting architecture. Treat people the same way as you would like to be treated by them. This is also my go-to phrase with the camera. I do not try to photograph embarrassments. A photograph can be humorous and still respectful. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KNP: I enjoy work from Elliot Erwitt, Nick Turpin, Angela Ambrosini, Nils Jorgensen, Shane Taylor, Matt Stuart, Alan Schaller, Sally Davies, Annie Leibovitz and many more. I have found some photo friends at Instagram too. I am very glad to see Li Mullen listed here as 2021 photographer. As much as I enjoy the work of these people, I cannot copy their work. When I am out, my mind and head is totally cleared and wiped clean. If my photography looks like someone else's work, then it is completely unconscious and something that I am not aware of myself. But what I like in other photographers' work will naturally show up somehow in my own work. 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? KNP: Fujifilm has been a real game changer for me. I was coming from a big heavy DSLR - Canon 5D - which was not a street ninja tool. Fujifilm mirrorless was lighter, more intuitive, it has old school dials, and it is somehow discrete and not very offensive. XT1 was my first Fujifilm camera. I missed something in handling, but then I bought the XT2 Silver edition. It does everything I need it to. If there are any mistakes, it is my mistake and not the camera. Features like auto ISO and electronic shutter are fantastic. 23mm F2 is my go-to lens = 35mm equivalent in full frame. I have tried to use longer lenses under Covid19, but I think and compose in 35mm focal length. I can shoot without looking with one hand or from the hip, and still know what is in the frame. I do also use other lenses (not much though) - mostly a 50mm F2 = which is about 75mm on full frame - for events and portraits. The current gear has stopped my lust for new cameras/lenses, and I can focus on the important part - the picture itself. I might try a X100V one day, but I still like the flexibility of being able to change lenses. TPL: When you go out photographing, do you 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? KNP: When I go out shooting, I normally have a plan of districts I want to visit. I do not normally have a special concept and idea. But when the pandemic is over, I will for sure go out with different projects in my head. Inspired by my Night Photography project under Covid 19. TPL: Have you ever been involved in the arts before photography? KNP: I have always been creative. First with the music which included school concerts and more. Now photography. To be able to fulfill the creative side of life completes me somehow. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KNP: As mentioned before, I am working on a Night Photography Project right now. This project has led me to continue with night photography and architecture pictures - also after Covid 19. I hope to add more portraits to my portfolio. It might be street portraits; it might be normal portraits - time will tell. TPL: When I am not out photographing, I (like to)… KNP: When I am not out photographing, I like to be close to my family and friends, to travel, to cook, to walk the dog, to play the keyboard, to watch action movies and Nordic Noir thriller series. Thanks for listing me as a 2021 photographer. I feel very honored. Kenneth Nederskov Petersen has faced the challenge of adapting his style to the pandemic. Despite the hardships, he has continued to capture the world around him through his unique lens. As we look towards a future with hopefully more freedom, Kenneth's words serves as a reminder to never stop seeking out beauty in the world no matter what the circumstances are. Let's use his example as inspiration to explore our own street photography, or whatever art form speaks to us – and never stop creating. VIEW KENNETH'S PORTFOLIO Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW October 23, 2020 THE FINNS Photography by Simo Väisänen Interview by Karin Svadlenak Gomez Simo Väisänen is a Finnish self-taught photographer. He is mostly interested in people, places and details. His love for old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's productions have partly influenced his photographic style. His street and documentary style photographs speak to the viewer very directly and sometimes leave room for questions and wonder. For this interview Simo shared with us some photos from two of his series, "The Finns" and "Almost Photography". “I was born and raised in Kuopio, Finland in the middle of the beautiful Finnish Lake district. After my studies in Oulu, Helsinki and Jyväskylä Universities I got a position in Mikkeli, which is also surrounded by big lakes. Both Kuopio and Mikkeli are situated in Central Finland. I am a Special Education Teacher and Teacher of the Deaf. My interest in photography started as a school boy. Me and my kid brother once got an Agfamatic 100 Sensor camera for Christmas. We really put that camera through its paces and the images we took were pure expressionism. Later, during my studies in Oulu I bought a second hand East German miracle called Praktica Super TL with a 50mm lens. I used that mainly to take photos of my family and friends. After that photography has been an essential part of me.” IN CONVERSATION WITH SIMO VÄISÄNEN THE PICTORIAL LIST: Simo, please tell us what is it that you want to express through your photography? And what are some of the elements you always try to include in your photographs? SIMO VÄISÄNEN: Photography is almost always associated with a reproduction of reality. To me photography is making known my thoughts or feelings. The reality of the world we live in becomes the reality of how I use my visual language or how I feel about a specific idea or subject. Daido Moriyama once said ”Photography is the expression of our desires”. That’s how it is. Light is photography. Photography is painting with light. If the light is uninspiring or dull I just don’t shoot. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? SV: I believe I could say my passion for photography is my constant source of inspiration. I usually shoot for a theme and try to visit somewhere new to get out of my comfort zone. Favourite place to photograph? Could say anywhere. But I could travel to the end of the world and feel frustrated if the light and the environment didn’t inspire me. TPL: Do you think place matters? Do you try to show a sense of place in your photos? SV: Any place is good enough If I find the place interesting and inspirational enough. To me a sense of place is a feeling or perception I hold. That’s why my photographs differ from all others. TPL: Do you have any favourite artists? SV: My love for old Finnish B&W movies, Italian neorealism and Akira Kurosawa’s and Sergei Eisenstein’s production partly explain why I photograph as I do. And if you don’t understand Daido Moriyama or Junichiro Tanizaki you don’t know me. TPL: You have shared with us a story about the Finnish circus. What gave you the idea of doing a photo series on the circus? SV: I’ve always loved circus. It all begun when me and my kid brother hadn’t even started school yet. Our Mum took us to a circus which had come to our home town Kuopio in Finland. It really took me back to my childhood memories when our daughter was old enough to be taken to circus. It was then I realised I must start recording the present that one day will be the past to my daughter. Finland is the most kick-ass country in the world! TPL: The circus is a place of colour and light. How come you chose to use black and white for your photo essay? Especially since your photos in your Instagram gallery are otherwise often colourful. How do you decide what should be presented in black and white and what in colour? SV: If you look closely you’ll notice that only 62 of my 309 images in my Instagram gallery so far are colour images. That alone proves I’m a B&W guy. As you said circus is a place of colour and light. The light, however, is never constant and therefore you must start using high ISO values. That leads to colour noise. I shoot B&W for all classic reasons. It’s a creative choice. When you shoot for black and white, you challenge yourself to remove the distraction of colour. These include colour casts and differences in colour temperature (ambient light sources), as well as specific colourful elements that are strong, which may reside in the background or take away from your story. I even set my camera for B&W. That results in B&W photos on my LCD and in my viewfinder and allows me to better see lighting, shape and form. I reserve colour mainly for travels, family snapshots and random weddings and funerals. The light must really be something special if I otherwise start shooting in colour. Of course I recognise a good colour photograph when I see one. TPL: When you go out on the streets, do you 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? SV: I’ve always thought that the world is full of images just waiting for us to come and get them. When I hit the streets my main target is people, but I won’t spit on any other potential good image either. The more you shoot the luckier you get. And the luckier you get the better images you get. 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? SV: There’s a tool for every task. When I hit the streets I want to be as inconspicuous as possible and use wide angle primes. Getting close to the subject has never been a problem to me. My The Finns Series is a proof of that. When I don’t have to worry about being noticed a 24-70mm f2.8 zoom is my tool of choice. I jumped on the mirrorless wagon very early on. Currently I use Nikon mirrorless cameras and lenses. The future is absolutely mirrorless. I’m a Nikon Z Creator. TPL: Have you ever been involved in the artistic world before photography? SV: Music has always been a part of me. My register in a male choir was Second Tenor but unfortunately I had to leave the choir because of my work. I just couldn’t find time enough for evening rehearsals or weekend courses far away from my hometown. However, I haven’t forgotten singing completely. When the house is empty I turn into an operatic tenor. Otherwise I sing in the shower to my family’s delight. Believe you understand. TPL: Are there any projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SV: I constantly add images to my old photo series. Don’t know for sure yet but I’d like to devote next winter to winter images of Finland in black and white. That would also involve going to the woods. I used to be a nature photographer before mirrorless cameras so that won’t be a problem for me. First and foremost photography is something that makes me feel happy. I couldn’t imagine life without it. When I see a good final image on my computer screen or as a print, the emotion is often physical. In addition to this very personal side I want to expose my work in public. All artists need publicity. If my images make people feel even a tiny bit the way I felt when I made the image, I’m happy. I don’t actually believe in photo exhibitions. I really hope I could publish a book at least in five years. Exhibitions come and go. Photo books last forever. TPL: "When I am not out photographing, I (like to)… SV: When I am not out photographing I like to spend time with my family, listen to my favourite music or read books. Sometimes I have to forget music and books completely because of editing my images. But as I said before, post-processing can be devastating, it can be revelatory, it can actually be great fun." Simo Väisänen's photographic style is sure to leave a lasting impression on viewers. His mastery of street and documentary photography has allowed him to create moving and thought-provoking works of art that remind us of the influence of old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's productions. We are left with questions and wonder as we view his photographs. If you want to experience Simo's genius for yourself, take a moment to view more of his photography. VIEW SIMO'S PORTFOLIO Read THE SHOW MUST GO ON by Simo Simo's website >>> Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW March 2, 2022 LET THE SUN SHINE Photography by Elizabeth Paoletti Interview by Karen Ghostlaw Pomarico Elizabeth Paoletti is a passionate photographer who is always ready to take her skills to the next level. While she loves all genres of photography, she considers herself more of a creative photographer. As her interest in photography evolved, she began to experiment with different camera techniques and particularly loves using intentional camera movement to create a more abstract or artistic feel to her photos. She is mesmerized by vibrant colors, beautiful light and the tiniest details, and enjoys the challenge of photographing the mundane. Yellow is one of Elizabeth’s favorite colors and is the color of thread that ties this series of photographs together. For Elizabeth, yellow is cheerful and reminds her of her sister, Alyssa. She loves Alyssa’s sunny and positive disposition, and dedicates this selection of photographs to her. She also wants to thank her brother, Marc. He knows why. “Once I picked up the camera and understood the basics, I realized that I could play around with color, contrast, texture and pattern with more success. The irony is that I may not have been good at painting with a paintbrush, but I sure do enjoy the process of “painting” with my camera.” IN CONVERSATION WITH ELIZABETH PAOLETTI THE PICTORIAL LIST: Elizabeth, you say you were born and raised in the United States. What do you think you bring to your work as an American photographer? How does that translate to your images? ELIZABETH PAOLETTI: Not only was I born and raised in the United States, but I was raised by Italian-American parents who valued the arts. I was raised with the classics. I grew up playing the piano, and I was surrounded by opera, ballet, theater, musicals and painting. My mom is a painter, and I grew up with a lot of vivid color in the home. I believe the genesis of every artistic impulse I have revolves back to my upbringing, and in the case of my photography, I strongly resonate with brighter, more vibrant colors. TPL: When did you first pick up a camera? What was that experience like? How did you know you wanted to be a photographer? EP: I first picked up a camera when my daughter was born, and then later when my daughter decided to pursue Eventing. Eventing is essentially an equestrian triathlon where a single horse and rider compete against other competitors across the three disciplines of dressage, cross-country and show jumping. For me the most exciting part of this competition was show jumping, and I wanted to capture my daughter in action jumping over fences and other obstacles. At the time, I kept trying for successful photos using my old point-and-shoot camera on auto mode. Fast forward a year and my husband purchased my first Nikon DSLR as a Christmas gift. I must confess, it sat in the box for a long time before I actually opened it. That big Nikon camera intimidated me, but with time I began to feel more comfortable using it. In the end, I still didn’t get those satisfying shots of my daughter jumping. Show jumping is inherently dangerous. I realized I was shaking and that it wasn’t the wrong shutter speed that resulted in an out-of-focus photo, it was my nerves. It’s a mom thing. In any case, I was hooked on photography. I loved how the creative process felt. My adrenaline would pump when I looked through the viewfinder and saw something compelling. TPL: You say that you consider yourself a creative photographer, tell us what that means to you. EP: Over the years, I’ve experimented with many forms of creativity: drama, sewing, pottery, stenciling, collage, drawing, painting and interior design. I wanted so badly to be good at drawing and painting, but I was just terrible. Once I picked up the camera and understood the basics, I realized that I could play around with color, contrast, texture and pattern with more success. The irony is that I may not have been good at painting with a paintbrush, but I sure do enjoy the process of “painting” with my camera (intentional camera movement), and I feel successful in the process. TPL: Do you consider your playfulness with the camera to be part of your photographic style? EP: Definitely. Photography wouldn’t be a passion of mine if I didn’t have the opportunity to go beyond just looking through the viewfinder and clicking. Shooting through objects, creative focusing, using props to create interesting shadows and flares and intentionally moving the camera. I find all these processes very rewarding. Sometimes just pushing a button is wonderful. The world of macro is fascinating. If I were to move the camera while shooting macro, I wouldn’t have the clarity I wanted, but being playful with the camera is when I feel the most gratified. TPL: Your unique use of color is captivating, please tell us about the important role color plays in your work. EP: I grew up with bright colors in the home. At one time we had an orange rug, colorful artwork on the walls, and brightly colored seat cushions on our kitchen chairs. I connect to the happiness and joy that only vibrant colors can bring, so to express myself with my camera in this manner is immensely satisfying. TPL: You mention the 'Mundane'. What inspiration do you find in the 'Mundane'? EP: Aaahhh, the mundane. I love the challenge of photographing the ordinary, whether there are vibrant colors or not. Let’s say I’m out hiking and I want to photograph the mountainous view. I will take the picture, but I will never feel creatively satisfied with a landscape shot. Not to take anything away from all the exceptional landscape photographers out there, but for me, Mother Nature has done all the creative work. Mother Nature has given me what is big and beautiful, so I feel less challenged in the photographic process. I love photographing ordinary things in a way that sings to me and hopefully to the viewer as well. I connect to the happiness and joy that only vibrant colors can bring, so to express myself with my camera in this manner is immensely satisfying. TPL: What are some tips or advice you would give yourself if you started photography all over again? EP: I would tell my beginner photographer-self to listen with abandon to her creative voice. Art is an expression of the artist, and there is a vulnerability that goes along with that. Don’t worry about what other people think. The beauty about art is that it doesn’t want anything from you. It gives to the viewers, and the viewers decide whether the gift is right for them. Be okay with the fact that your work will not resonate with everybody. Creatively express yourself in a way that makes YOU happy. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? EP: I love Avtandil Makharoblidze. I have one of his giclees hanging on my dining room wall. His use of vibrant colors is fantastic. I also have Mahmood Sabzi hanging in my home. I adore his use of line, color and symbolism. In terms of photographers, I love Bryan Peterson’s work. You can find him on Instagram. He doesn’t know it, but he totally inspires me. His unabashed use of color is wonderful. He creates portraits, abstracts, landscapes, macros…you name it, and he does it. Not only does he do it, but he does it all so beautifully. As a photographer, I would be miserable if I were locked into one genre of photography. I want to photograph anything and everything to the best of my creative ability, so when I see the work of someone like Bryan Peterson, it motivates me beyond measure. I actually learned from him. I have taken several of his online courses and have all his books. He has a very diverse, creative and colorful approach to his picture making. TPL: What are any lasting impressions you would like to leave the viewer? What is their ‘Take Away’? EP: Color makes me feel like that six-year-old who received a new box of crayons. If I can pass that feeling along to my viewers, I’m happy. If I can distract people from their daily responsibilities by transporting them to a time when they felt more childlike and free, I’m happy. Color evokes a spectrum of emotions. I hope to evoke an authentic emotional reaction with my photography. I’m especially thrilled when people tell me that they find my work inspiring and, because of it, they want to try something new. 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? EP: I use a Nikon D7200 for most of my images, and I have several lenses. I’d say most of the time I am using my Nikon 18-300mm lens. When I’m shooting macro, I’m usually using my Sigma 60mm lens. At some point, I plan on transitioning to mirrorless and look forward to carrying a camera that is lighter. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? EP: One of my goals is to finally have a website. Every now and again I get asked if a photo is for sale, so I figure I'd get some content online. I’ve been working towards this goal for the past several months. It’s been a grueling process. I look forward to when I’m finally finished. I also plan on shooting several series of images and joining at least one supportive online community. There’s something very empowering and motivating about spending time with creatively like-minded people. I’d also like to be part of some gallery exhibits and to be published in print magazines. TPL: "When I am not out photographing, I (like to)… EP: Listen to music; spend time with family, both human and furry; and get my 10,000 steps in for the day." We take this opportunity to thank Elizabeth for this interview, who with her images has mesmerized us by her use of colour, beautiful light and the tiniest details. Please connect with Elizabeth below and follow her colorful life. VIEW ELIZABETH'S PORTFOLIO Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW November 10, 2021 BUENOS AIRES STREETS Photography by Daniel Goldenberg Interview by Melanie Meggs Daniel Alejandro Goldenberg is an Argentinian street photographer with an interest focused mainly on capturing characters and everyday situations on the streets of Buenos Aires. Street photography is a passion that cultivated as a hobby for Daniel which has helped him focus his gaze on the social and individual environment that surrounds him, giving him the possibility of observing reality in a less superficial and more humane way. “I believe that street photography is the most artistic and sincere way of showing the essence of the human being in its urban context.” IN CONVERSATION WITH DANIEL GOLDENBERG THE PICTORIAL LIST: Daniel please tell us how did you become interested in photography? DANIEL GOLDENBERG: I have always been interested in photography in some way, perhaps by inheritance, since my father was a photographer by profession. Observing the naturalness and spontaneity of the style of the great street photographers of the 20th century, I realized that street photography was the style that best suited my need for artistic expression. TPL: What does street photography mean to you? Describe your style. Where or how do you find inspiration? DG: I believe that street photography is the most artistic and sincere way of showing the essence of the human being in its urban context. My style is quite eclectic, maybe even a bit chaotic, depending on what catches my eye at any given moment. Although I try to maintain a minimum coherence in style, I do not let that intention make the process of taking photos boring and repetitive simply for fun and artistic expression. My inspiration comes mostly intuitively when I hit the streets, although a small percentage of planning ahead always comes in handy. TPL: Did you have any difficulties when you started street photography? If so, what are they? DG: I had the typical difficulty of coming face to face with people with a camera in between, but with the passage of time, practice and training, I began to move naturally and learned to blend in with the environment with greater ease. TPL: What are some are some tips or suggestions that you would give yourself if you started photographing again? DG: I would advise to start this beautiful activity as soon as possible and not go out without a camera in my pocket. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DG: In these times of Instagram, I have a lot of favorite photographers. The current possibility of being able to appreciate the work of so many good photographers is wonderful. Among some of my favorites are Roy Savoy and David Gibson. Of course, constant inspiration comes from observing the work of classics like Vivian Maier, Henri Cartier-Bresson, Robert Doisneau, Elliott Erwitt, etc. Some classics from my country, such as Horacio Coppola and Sameer Makarius and the contemporary Alex Gottfried Bonder, a great street photographer from the city of Buenos Aires, whom I have the honour to know personally for having participated in one of his workshops. My style is quite eclectic, maybe even a bit chaotic, depending on what catches my eye at any given moment. TPL: When you are photographing, how much is instinctive versus planned? DG: It depends on the place and the mood in which I wake up that day, but generally there is a balance between instinct and advance planning. TPL: Does the equipment you use help you achieve your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? DG: Depending on the circumstances, I use one of the two cameras that I have at the moment. In situations where the size of the camera is not an impediment, such as tourist places, events, etc. I use a Canon 80D reflex camera, which allows me great battery life, usually with a 24mm lens (35mm FF). Normally, where more discretion is required, I usually go out with a very small mirrorless camera, a Panasonic GM-1 with a 20mm (40mm FF) lens. TPL: Is there a project you are currently working on that you would like everyone to know about? What are some of your goals as an artist or photographer? Where do you hope to see you in five years? DG: Not at this precise moment, but I have in mind to combine historical scenes from Buenos Aires with spontaneous street situations in the same project. I hope to improve as a photographer in general terms and in the future to be able to launch a graphic publication about my work in street photography. TPL: “When I am not out photographing, I (like to)... DG: When I'm not photographing I want to be photographing.” Daniel's eclectic view of street photography is an artistic sincere way of showing the essence of the human in an urban context. To view more of his photography please use the links below. VIEW DANIEL'S PORTFOLIO Website >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW May 31, 2020 AFTER DARK Photography by Jules Carr Interview by Melanie Meggs Jules Carr has always had an interest in photography, but it was only a couple of years ago that her interest was ignited into something much more intense. After experiencing a life changing event, Jules found herself feeling an emotional connection to the world around her, and started to notice the beauty of the ordinary. By exploring the ever-evolving urban landscape during the nighttime hours, Jules has been able to capture a cinematic atmosphere in her photographs. With each shot, she is striving to capture that one perfect moment that will stay suspended in time forever. Though Jules is not yet where she dreams of being, she is continuously experimenting and searching in the hopes of finding that elusive shot. Join us as we explore Jules’s journey and uncover the magical and mystical world she has created. “I have been interested in photography for as long as I can remember, but I have only been taking it seriously relatively recently. Two years ago I was still snapping away on a smartphone, then I joined Instagram and became obsessed!” IN CONVERSATION WITH JULES CARR THE PICTORIAL LIST: Jules, where do you find your inspiration to photograph? JULES CARR: Everywhere! I'm fascinated by the ordinary, the mundane, stillness, empty spaces. TPL: Have you ever been involved in the arts before photography? JC: I've always been interested in art and design. I'm also a musician. TPL: Who are your favourite artists/photographers? JC: So many favourites! Photography wise, Julia Margaret Cameron, Lee Miller, Robert Frank, William Eggleston, Fred Herzog, Norman Parkinson, Don McCullin, Todd Hido, Joshua K. Jackson to name just a few. I particularly like mid 20th century American photography. Too many artists to mention, but I’d include Whistler, Grimshaw, Hopper, and Hockney. TPL: Has your style of photographing changed since you first started? JC: In many ways my compositions are not radically different these days, but I'd like to think they are more refined. My editing skills are definitely better than they used to be, thank goodness! I am learning all the time. TPL: Where is your favourite place(s) to photograph? JC: Empty urban landscapes, after dark. I'm fascinated by the ordinary, the mundane, stillness, and empty spaces. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? JC: I think it very much depends on what you hope to achieve. You really don’t need expensive gear to produce great photos. For me personally, the image stabilisation on my Sony enables me to take great handheld shots in low light, which means I can take my camera anywhere without needing a tripod. Perfect for me as I like spontaneity and travelling light. My favourite lens is the cheapest I’ve bought: a vintage Zeiss Flektogon with bags of character. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone just getting started in your genre? JC: Hmmm…slight obsessive tendencies don’t go amiss! I notice frames everywhere I go, but I'd say my best shots are the ones that I have an emotional attachment to, that capture a mood. I don’t feel qualified to give advice, but I’d say take endless shots, and never stop looking! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JC: Like many photographers' in these unprecedented times, when the coronavirus lockdown started it seemed really important to me to document it. So began an exciting collaboration with photographer and musician James Bacon @thesheffieldlens, which has resulted in a still evolving online exhibition entitled “Still Life”. This explores the poignant emptiness of the surreal urban landscape by day and by night. Caught between the loss and uncertainty, there is Still Life. I am also concentrating on urban night photography at the moment, with a view to hopefully producing a photo book at some point. TPL: "If I wasn't photographing what would I be doing?... JC: Something musical!" Jules Carr's journey into photography has been a wonderful and inspiring story of how life changes can spark and create a passion, and how creativity and experimentation can bring something truly special to the everyday. So if you're looking for a wonderful story, mesmerizing photographs, or simply some inspiration, be sure to follow Jules' journey by clicking the links below. VIEW JULES' PORTFOLIO Jules' website >>> Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW November 4, 2020 ROLL THE DICE Photography by Sofia Dalamagka Interview by Melanie Meggs We all know the feeling of loneliness. The feeling of being unseen and unheard, of being lost in a crowd of strangers, all of them going through their own struggles and joys, none of them truly noticing us. But when we look closer, we can see the secrets hidden in their faces. The feelings that cannot be voiced, the stories waiting to be told. It is this hidden beauty that Greek photographer Sofia Dalamagka seeks to capture in her work. Sofia takes us on a journey around the forgotten ports and impersonal cities of the world, introducing us to the faces of strangers who, in their own way, tell stories and evoke emotions within us. Through her lens, Sofia dives into the innermost depths of human existence and reveals the feelings hidden away beneath the surface. These are people searching for something, be it joy, recognition, or even just a way out. Connected by a shared sense of deep loneliness, they are paused in time - living and breathing in moments that will never return. For Sofia, photography is not just a profession; it is an art, a form of love that will never pass away. Her camera is her eternal mistress, and through it she invites us all to take a second look at the people who pass us by each day. To pause and reflect on their innermost thoughts and feelings, and to uncover the hidden beauty in our own lives. With her work, Sofia Dalamagka encourages us to recognise the importance of understanding one another, and to appreciate every moment that life gives us. “Photography is a way of my existence, a kind of love that does not wear out as time goes by and my camera is my eternal mistress. The only thing that I’m sure about is that I don’t want to give answers, but I want to create questions. For me, capturing a moment should create doubts. Maybe I want to do a social statement. Sometimes, I want to express all the feelings that I hide. Sometimes I want to make the viewers question themselves, provoke or to disturb them. Even give them some negative feelings because that is a way of a creating a connection with the picture you have taken.” IN CONVERSATION WITH SOFIA DALAMAGKA THE PICTORIAL LIST: Sofia please tell us about yourself. When did you start getting interested in photography? SOFIA DALAMAGKA: I started taking photographs as an amateur when I was 28 years old. It was some kind of love which still continues to give me that feeling until today. For about two to three years I took a small break. Photography was my 'saviour' when I felt totally blank inside, when I was questioning my own existence. Between falling and creativity, I consciously chose the second. I try to evolve constantly by taking lessons, seminars, certifications of courses, by reading and studying a lot, by experimenting. Many times, success flirting with failure. And that's where all the magic hides, trying to overcome yourself and your expectations! TPL: You sent us photos from your series 'Roll The Dice'. Tell us how this idea started and what you want the viewer to interpret? SD: Roll the Dice is a poem by Charles Bukowski. He is my favorite poet and writer. I read that poem every time I get desperate. That poem was the main idea for the creation of these pictures. It talks about those who lose their courage, and find many obstacles during their everyday life. I want the spectator seeing these pictures to realise that it is important to remain humane and that everyone is alone in this world going through his own everyday battles. TPL: Where do you find your inspiration to keep photographing? SD: In love, traveling, in a passing glance, in books, in the waves of the sea, in the sound of rain, in the smell of wet soil, in promises that weren't kept, in stories of lovers and friends. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? SD: Francesca Woodman and her tragic end have affected me deeply as an artist and as a woman. Nevertheless, Daido Moriyama work with his dark nightly Contrast, Saul Leiter’s poetry and Vivian Maier’s deep irony about human existence spreading through all of her work were what sculpted the way I take for real and how I try to show the meaning of what I see. TPL: Do you prefer to photograph alone or with friends? SD: I think of photography as a unique procedure where there is no space for babbling. It’s a secretive experience. If you are not a lonely wolf, you are not a photographer! Photography for me is the reflection of the photographer. An inner world emerges and becomes real through this. It deals with the irrational, the illusion and the subconscious. Photography is the memory. An experience. A persistence. A glimpse. A promise never kept. TPL: Has your style of photography changed since you first started? SD: I have changed my perspective and style since I started to work with photography and I still continue to reshape my personal perspective without to totally change the identity of my work. Change is part of my personal evolution, we shouldn’t be afraid of experimenting, of taking risks, of change in general. TPL: Where is your favorite place(s) to photograph? SD: As much as I love traveling, I believe that familiarity is what creates images with meaning, a story to tell and substance. Wherever I go I always end up taking pictures in the small by the sea village which I come from and live during winter. Mainly around the village port, where little stories are evolved, unnoticeable by others. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? SD: On the street, or outdoors in general, I really like to be unseen by people that's why I prefer a quiet mirrorless camera. I like wide frame from wide angle lenses but I usually work with the usual 50mm lens which is closer to what I can see. There are times again when I like to focus on details that might describe a whole way of life or a personal story. I love cold colors and the way mirrorless cameras show the color palette, with that vintage feeling they give you as well as the filters they offer you like black and white film. All these helped me very much to improve my portfolio by creating a project with coherence. TPL: Are there any projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SD: Lately I have been experimenting with techniques mix media and double exposure, I have been trying to connect pieces of images into one image connected harmonically and even. I would like to finally carry out the exhibition I have been working on with another 26 women participating, with the title 'Under Negotiation' which I personally revised, but unfortunately was cancelled due to the Covid-19 pandemic. It is about the existence and women psychology and how every woman gets along with her body, stereotypes, motherhood, the pressure she has to put through with our worlds social standards. I dream of my first own personal exhibition, my portfolio is in progress. I hope that I will be able to have created my own photography team where I live which will show the cultural heritage of where I live and which will give the opportunity to 'Jung' people to express through photography. TPL: Have you ever been involved in the arts before you found photography? SD: When I was a little child I would always remember my mother painting with oil paint on canvas, I still have the smell of the paint and the thinner in my memory. If I close my eyes I can hear the sound of the brush on the canvas. That was my first contact, and the most magic one, within the world of Art. I remember looking at her in awe and with childhood enthusiasm. TPL: "When I am not out photographing, I (like to)… SD: I like taking photographs either way, cause it’s an obsession, a way of existence and the way of how people see the world. I revise exhibitions, write articles about photography, read about the work of modern and classic photographers and argue with my friends if a photo is eventually good or not." Sofia Dalamagka has shown us that there is beauty all around us, and that through understanding and appreciation of one another we can find a greater appreciation for our own lives. Her photography is a testament to that and an invitation to pause, reflect and celebrate the beauty of life. We encourage you to connect with Sofia and to see more of her art, and to take a second look at the world around us. VIEW SOFIA'S PORTFOLIO Sofia's website >>> Instagram >> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW May 21, 2020 STOPPING TIME Photography by Angel Carnicer Interview by Melanie Meggs Dive into a world full of beauty and diversity, a world of life and stories, a world that is frozen in time – and discover the captivating photography of Angel Carnicer. His passion for the art is evident in every photograph he takes, as his unique perspective helps to bring his subjects to life in a way that no other photographer can. Whether it's a candid portrait of a stranger or a stunning landscape shot, Angel knows how to make every picture special. He has an eye for the extraordinary and captures moments that are both fleeting and timeless. He has a way of allowing the world to speak for itself, allowing the viewer to be drawn into the beauty of the moment. Join Angel on his journey as he explores the vast, ever-changing world around us, and you'll never look at the world the same way again. “Inept for order and academia, perhaps my style is to have none. I simply let reality, any reality, invoke me.” IN CONVERSATION WITH ANGEL CARNICER THE PICTORIAL LIST: Angel, when did you start getting interested in photography? ANGEL CARNICER: It was a professor at my institute who introduced me to the world of photography, at that time exclusively analog. After the Institute, I was able to set up my own home photography lab. My first serious camera was a Zenit SLR, a gift from my older brother. That lasted 4-5 years of self-taught learning. Other concerns and circumstances made photography pass into the background; so for about 30 years I dedicated myself to taking typical photos of family, friends and trips. I suppose that experience left a deep mark; because about 3 years ago I bought a Nikon D3300 and resumed my youth hobby. Today, therefore, I consider myself a novice. TPL: Where do you find your inspiration to photograph? AC: I don't think inspiration is something to find, look for or wait for. One carries in his backpack a cultural heritage (photographs, readings, paintings, experiences, a peculiar sensitivity, etc.) and works with it even without realizing it. Sometimes the spark jumps and sometimes it doesn't. It can happen anywhere. TPL: Have you ever been involved in the artistic world before photography? AC: In my youth I wrote poetry. The most I achieved was winning the poetry contest organized every year by the University where I studied. Fortunately, someone very special took Hermes' winged sandals from me and I discovered the pleasure of walking barefoot on earth. TPL: Has your style of photographing changed since you first started? AC: Of course, I no longer photograph with my eyes closed. TPL: Where is your favourite place to photograph? AC: Any place is good to do it: the bustling streets of a city or the calm ones of a town, the cement or the grass, the sea or the mountain. I mean, I don't dream of going to New York, London or Tokyo. Seeing, with some exceptions, is natural; looking requires will, courage and learning. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AC: I am not a mythomaniac and more than favorite artists or photographers what I like are their creations. I mean, for example, that I like Goya's black paintings and his 'Disasters of War' engravings. However, here is a list where not everyone is. Writers: Juan Rulfo, Cervantes, Raymond Carver, William Faulkner, and F. García Lorca. Thinkers: Emil Cioran, Hans Magnus Enzensberger, Georges Bataille, and Zygmunt Bauman. Painters: Velázquez, Murillo, Goya, Hopper, Monet, Paul Klee, and German Expressionism (Nolde, Kirchner). Photographers: Sergio Larrain, Cristina García Rodero, Gervasio Sánchez, Walker Evans, Robert Frank, Fan-Ho, André Kertész, Saul Leiter, Vivian Maier, Garry Winogrand, Aart Klein, Daido Moriyama, and Markus Hartel. TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? AC: For street photography I would like to be invisible. For another type of photography I would need all the time in the world; but I have other responsibilities. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AC: Of course. "Photography is manipulation" (Hans Magnus Enzensberger). An iPhone is not the same as a Leica S3. This means your use will determine part of the result. Of course, this does not mean that a Leica S3 turns you into a Cartier-Bresson overnight. My experience is brief, therefore, the only thing I can say to someone who starts is: love what you do and remember, as Cartier-Bresson said, "that your first ten thousand photos are your worst photos". TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AC: I don't work on projects. I only take photos. I would like each photo I take to be unique, independent, capable of conveying some emotion or idea without having to embed it into a coherent whole. I don't know, maybe when I retire I will try. TPL: If I wasn't photographing what would I be doing?... AC: In my case, the last question would be the following: if you weren't working, what would you be doing? Angel kicks the streets to feel that strange and healthy feeling of stopping time. He simply lets any reality invoke him. To see more of his photography please use the links below. VIEW ANGEL'S PORTFOLIO Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW October 28, 2020 FROM MY WINDOW Photography by Danielle L. Goldstein Interview by Melanie Meggs As New York City, the epicenter of the Covid-19 pandemic, went into quarantine lockdown in March 2020, Danielle L. Goldstein, a street photographer from the city, found herself unable to document life in the streets as she normally would. Refusing to be held back by the limitations of quarantine, Danielle made an effort to capture her world from her eighth-floor apartment window. What began as an attempt to document life during these unprecedented times soon became an unexpectedly poignant journey as Danielle observed the intersecting crises of Covid-19 and the Black Lives Matter movement with both a heavy heart and hope. Through her photography, Danielle discovered how her fellow New Yorkers were connecting with one another amid isolation and how a sense of resilience and humanity still prevailed. “It speaks to New Yorkers' resilience and how much we care for and look after one another, even if from a distance.” IN CONVERSATION WITH DANIELLE L. GOLDSTEIN THE PICTORIAL LIST: Danielle please tell us about yourself. When did you become interested in photography? DANIELLE L. GOLDSTEIN: I don’t come from an art background at all. I was a history major in college and then went on to law school. I practiced law for a few years, and then devoted myself to raising my two daughters full time. I had dabbled in photography for years, but never in any serious way until I took an introduction to photography class at the International Center for Photography in NYC about 11 years ago. From that moment on I was completely hooked. Photography became my passion and my way of expressing myself. It has become a very large part of who I am. TPL: Explain your idea behind your project observing life from your apartment? DLG: I’m primarily a street photographer. When Covid-19 hit in mid March and I quarantined in my apartment, there were days that I never left. I initially panicked that I wouldn’t be able to go out to shoot, since it’s my source of solace and one of my greatest joys. I spent a good deal of time staring out the window, and it wasn’t long before I realized there was life in NYC that I could document without leaving my home. I began shooting every day at 7pm when my neighbors would emerge at their windows and balconies to applaud our essential workers. Some of my neighbors caught on to me and would look for me and my camera at 7pm. One family would wave and blow kisses every night, my most favorite moment. I also began shooting at other points during the day, often capturing everyday mundane moments and expressions. What I learned most from this project is that you don’t have to go far to make work. In fact, sometimes the best work comes from staying close to home and just being invested in your subject matter. TPL: Do you have a favourite quote or saying that resonates with you the best? DLG: Susan Sontag said that “every style is a means of insisting on something.” Over the years I have had so many wonderful photography teachers who’ve inspired me and helped me grow tremendously. But through it all I’ve stayed true to myself and my vision in my work, despite an occasional push back. TPL: Where do you find your inspiration? DLG: In the streets, architecture and people of NYC. I enjoy shooting all over the world, and hope to be able to return to travel when the world normalizes. But NYC is my first love and my greatest inspiration, and I feel I do my best, most meaningful work right here at home. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? DLG: I’m interested in the juxtaposition of the structures of the city and the individuals who inhabit it. It’s rare that I don’t have a human form in my images. I’m also very drawn to composition and order. I would say most of my images are carefully composed. TPL: Do you prefer to photograph alone or with friends? DLG: Definitely alone. What I learned most from this project is that you don’t have to go far to make work. In fact, sometimes the best work comes from staying close to home and just being invested in your subject matter. TPL: Who are your favourite artists and photographers? DLG: There are so many! The greats in classic street photography, Henri Cartier-Bresson, Saul Leiter , Robert Frank, Lee Friedlander, Vivian Maier, and Ray Metzker. And some contemporary photographers like Alex and Rebecca Webb, Matthew Pillsbury, Alan Schaller, Clarissa Bonet. Edward Hopper is also a huge inspiration. And Harvey Stein, Margarita Mavromichalis and Nina Welch Kling, all friends and fabulous photographers. TPL: Has your style of photographing changed since you first started? DLG: I hope that I have and will continue to improve my craft. But my basic style of shooting has remained remarkably consistent. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? What would you say to someone wanting to start out in your genre of photography? DLG: I think I am in the minority of street photographers in that I prefer zoom lenses to fixed. My preferred focal length is 24-70mm, but for this project I used a 70-200mm. It had been sitting unused on my shelf for a year before the pandemic hit and I found really good use for it! For someone just starting out in photography, my best advice is to go out and shoot, experiment, take a lot of pictures, see what feels right to you and don’t worry about the gear. The camera is just a tool, and it takes some time to figure out how you want to express your vision and what camera and lenses will best accomplish that. Allow yourself some time before you invest in expensive gear. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DLG: I have been making self portraits in hotel rooms for many years now. With Covid, and diminished travel, that project is a bit on hold. But it is one I hope to continue in the future. Now that quarantine restrictions have eased a bit here in New York, I’ve been back out on the street. I often back into projects, and I’m hoping that happens again in the coming weeks and months. I hope the images I am making now will ultimately coalesce into a coherent project that I can develop and work on mindfully. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? DLG: I hope to continue shooting, and to improve , always. But mostly, I hope to continue feeling joy when I shoot and to make work that I am proud of. TPL: “When I am not out photographing, I (like to)... DLG: Spend time with my family and friends, read, exercise, eat out. With Covid, I thought that it was travel that I missed the most. But once things opened up and I could go to the gym, go to museums and meet friends for dinner I realized it is the small things in life that we take for granted that are most precious and most missed when they are gone." The work of Danielle L. Goldstein shines a light on the resilience of the human spirit, even during difficult times. Her street photography project reveal her unique insight into the nature of community, connection, and solidarity. Despite their distance, people found ways to reach out to one another during this time, in ways both subtle and profound. Danielle's work encourages us to take a moment to reflect on the way we all must strive to be there for one another, even during a lockdown, no matter how hard it may seem. For more inspiration and to connect with Danielle please visit her website and Instagram. VIEW DANIELLE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW July 8, 2021 RHYTHMIC EXPRESSION Photography by Raj Laxmi Singh Interview by Karin Svadlenak Gomez An ex-journalist turned full-time photographer, what started as a hobby soon led Raj Laxmi Singh to learn and master the craft of photography, while working on the ground level covering a few major art, cultural and heritage events across Delhi and India. She has a knack for capturing portraits and live performances. Rather than just pointing the camera and clicking away, Raj Laxmi takes a picture according to the way the subject makes her feel or the connection of the emotion she makes between herself and the subjects, creating images that combine a strong sense of story and expression of people. “The performing arts are most temporal - the moment you have performed it is over. So I capture the artist’s expression, feeling and emotion in my camera. I think that photographs are the universal language that everyone easily understands. Each picture has its own narrative and story.” IN CONVERSATION WITH RAJ LAXMI SINGH THE PICTORIAL LIST: Raj please tell us about yourself. How did you become interested in photography? RAJ LAXMI SINGH: I was born in a small village called Deoria Meer in Uttar Pradesh, where I completed my primary and secondary education. Currently I live in New Delhi. I am the mother of one child. I became interested in photography while working as a journalist covering a few major art, cultural and heritage events across India. TPL: What was the turning point for you to turn from photojournalism to photographing the arts and culture? What do you love about photographing dance? RLS: First time in 2017 I went to the theatre with my husband. I saw an Indian classical dance live performance. What I felt at the time I cannot explain in words. Classical dance is a performing art where the dancers act out a story almost exclusively through gestures. That time my eyes captured all the dancers expressions, emotions and dance drama, but this time I feel that I could freeze the expressions and emotions. Dance is the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy or simply taking delight in the movement itself... that’s why I love dance photography. TPL: Do you have any favourite artists and photographers? RLS: My favourite photographer is Shree Avinash Pasricha. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? RLS: The performing arts are most temporal - the moment you have performed it is over. So I capture the artist’s expression, feeling and emotion in my camera. I think that photographs are the universal language that everyone easily understands. Each picture has its own narrative and story. What I like about Indian classical dance is its beauty and majesty that comes forth when the dancers use their eyes, hands, limbs and expressions to relate stories to the audience without words. I want to explore more Indian classical dance, folk and traditional dances. I do not have any picture of Kathak Kali dancers and their supporting artists yet. And I also want to cover backstage life. Because every artist looks the same on stage, but backstage life is different and the situations are also different. So I am exploring Indian culture and artist backstage life. TPL: Where is your most favorite place to photograph? RLS: Live classical dance performances at any theater and cultural heritage at temples/tombs. These place provide beautiful frames for photographs and attract my heart. What I like about Indian classical dance is its beauty and majesty that comes forth when the dancers use their eyes, hands, limbs and expressions to relate stories to the audience without words. 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? RLS: Nothing in mind, but when the performance starts then I get many concepts in my mind. I pick up my camera and follow my heart and capture the drama story. TPL: What camera/s do you use? Do you have a preferred lens/focal length? Is there any particular equipment that is on your Wishlist? RLS: I want to buy a Nikon X6II with 300mm lens. Currently I use a Nikon D7000 and 105mm lens. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? RLS: I want to explore more of my Indian culture and also more about the artist's backstage life. This is my goal and I want to achieve my goal within five years. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? RLS: All my special projects are based on our culture. This is work in progress, and what I have shared with you is part of it. Raj Laxmi photographs to reflect the emotion she feels or the connection she makes with subjects in her series of Indian dance. Please visit links to see more of Raj's inspiring photography. VIEW RAJ'S PORTFOLIO See a feature article on Spectaculum Magazine >>> Instagram >>> read more interviews >>> 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’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. 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. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home.

INTERVIEW INTERVIEW April 12, 2021 VOICES OF THE NILE Photography by Bastien Massa and Arthur Larie Interview by Karin Svadlenak Gomez Voices of the Nile is a project aiming at raising awareness on the vital importance of the Nile ecosystem by the photographer duo Bastien Massa and Arthur Larie. The two have been doing joint photo projects for many years. Working photo journalistically, they have been traveling through Ethiopia, where they spent four months at the source of the Blue Nile to do a series about Ethiopians and their relation with water. “We left France four months ago and will still be travelling for another four months in the Sudan and in Egypt. In the Sudan, we want to focus on the practical impacts of seasonal flooding and the cultural perceptions of the population. We also want to realise a series about the communities who worship the Nile river and gather their stories. Environmental issues are also central to our work all along the Nile river.” IN CONVERSATION WITH BASTIEN MASSA & ARTHUR LARIE THE PICTORIAL LIST: Bastien and Arthur please tell us about yourselves. How did you both become interested in photography? BASTIEN MASSA & ARTHUR LARIE: We are two young French photographers (Bastien and Arthur) working on a project along the Nile River. We have previously spent four months in Ethiopia at the source of the Blue Nile and we now have just left for Sudan and then onto Egypt following the flow of the river. We come from two parts of France, Arthur is from Corsica and Bastien is from Paris. We both met during our time of studies in Aix-en-Provence. In our project, we try to embrace research, journalism, and photography. Photography is a medium to reach the diversity of humankind, it is an excuse to reach unknown worlds. Possibilities are infinite, you can spend time with fishing communities of the Nile in the Sudan and work with artist performers in Paris, these reasons might explain our interest in photography. TPL: You have shared with us a series you call A KIND OF BLUE NILE from Ethiopia. How did you come up with that title? Tell us a bit about what appears to be a kind of religious festival. BM & AL: We have spent four months in Bahir Dar at the source of the Blue Nile, one of the tributaries of the main Nile. At Khartoum, the White Nile coming from Lake Victoria and the Blue Nile coming from Lake Tana in Ethiopia merge to flow towards Sudan and Egypt. This title is a reference to the iconic jazz album from Miles Davis. In addition to the direct reference to water and the Blue Nile, for this album, Miles Davis gave little indication to his musicians, just a general idea, and asked them to improvise on it. We did - at our own level - the same, we had the Nile and water as a guiding thread, and if we had more information than Davis’ musicians, we still tried to improvise some variations around this theme. We wanted to do a series about Ethiopians and their relationship with water at the source of the Blue Nile. How it affects their practical life but also the cultural and spiritual dimension of water. At the end of January, in the city of Gondar (the north-eastern part of the country), Christian Orthodox people celebrate Timkat, which represents the epiphany and the baptism of Christ. In Gondar, around 500,000 pilgrims from all over the region gather inside Fasiladas bath, named after one of the 17th Abyssinian kings. There, a basin is filled with water for the ceremony and after a night of prayer, the pilgrims, mostly men, enter the bath to get blessed by the holy water. You can definitely see in the picture a special connection between Ethiopians and water. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? BM & AL: When you start photography you want to capture everything, especially while travelling. But in a world of images, it is really important to focus on what kind of story you want to tell, how you can deliver a new vision of a subject that everybody knows. Thus we try to look for the margin, if you take the Blue Nile falls in Ethiopia it is hard to create something new, all tourists, photographers have already taken millions of pictures of this place. So we tried not to capture the falls and instead we decided to follow the people coming back from the market to their homes. We were walking with them on the banks of the river and we could see how they live, close to one of the most touristy places of Ethiopia. There are no particular elements that we try to include in our photographs, it is more about what you see and what you feel in a given moment. Sometimes you are on the move in the streets and you just have to stay aware of everything: lights, objects, colours, and people, because it goes so fast. But at some point you just experience a moment and have some time to find the perfect frame where you include all the elements you need, playing with lights and movements. TPL: How do people along the Nile react when you take their photo? Are they friendly about it? BM & AL: In Ethiopia, people have mixed reactions. Some are reluctant to have pictures taken of them and many will ask you for money. Cameras are not well accepted everywhere and we met some people asking "for what purpose". This is understandable regarding the fact that photography is held accountable for the past negative image of the country among the rest of the world. But this happens only when you take pictures without creating a connection. But you know, the reactions are as diverse as the people, some are shy, some are extrovert, some are suspicious, some are proud. And hopefully, we don’t all have the same reactions to a given situation. Another point is that, as our stories need time, we spend some with people before taking pictures of them. We don't arrive with our cameras out. You have to create a dialogue, explain why are you here, and establish trust. If you break the ice, how they perceive your camera will somehow change, which is once again totally understandable. TPL: Where do you both find your inspiration? Do you have a favorite place/s to photograph? BM & AL: Our environment is of course a huge source of inspiration, but this inspiration is almost instantaneous. So we may say that looking at other photographers' work and discussions with them accounts for a big part of our inspiration. We pay special attention to their composition and how they apprehend light and movement and their perception of their subjects. When you do photo reportage, the research part is also really important. Getting to know where you go, what the main challenges are and how other photographers have already talked about the topic you want to cover is important to create something different but still reliable. We love to take pictures in markets or city centres. In Ethiopia, most of the cities are evolving fast and those places are in translation. In Bahir Dar, the municipality decided to transfer the old shops and sellers to new buildings. This adaptation is photogenic. A market is not a place where everything is clean and organized. In those places, some physical concepts do not apply, like gravity. Stacks of fruits or goods are challenging those principles. And life is not aseptic: it's smelly, noisy, and crowded refusing a kind of uniformization. We also love decadent places: places with a glorious past, that were once state-of-the-art and are now neglected. Not abandoned, if we take the example of this old hotel in the northern part of the lake. It was a modern lakeside hotel, constructed under the socialist regime of the Derg. It has now lost this fancy aspect but you still can feel what its golden age was. Photography is a medium to reach the diversity of humankind. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BM & AL: Both Joseph Kessel and Nicolas Bouvier have fed our desire to travel and report the stories of people. Then there are two photographers that we refer to when it comes to inspiration: Sebastiao Salgado and our friend Eduardo Soteras Jalil. Sebastiao Salgado succeeds in creating a new perception of the world's complexities especially when it comes to conflict, his work is at the borderline between art and journalism. Eduardo Soteras is a photojournalist covering the current war in Tigray, Ethiopia. We met him at the beginning of the conflict at a time when we were just starting out in photography. Since then we have been following his work, which has had a great influence on how we perceive photography. He plays with light and composition and makes you feel that he is always at the right place at the right time. TPL: Would you say you are documentary photographers? How do people react to you? BM & AL: We are trying, but in the meantime, photography is so vast that we want to experience other styles that would improve our perception when we do documentaries. We always ask ourselves if in documentary photography everything has to be natural, just capturing the moment, with no more intervention than the way you compose the image and we are learning every day. Reactions are different, and it depends on which communities you try to document. Usually, people are friendly when you go out with your camera, but still, we try to ask for permission when we can or form a relationship with the subject. When people have negative reactions we try to explain what we are doing, to show them the picture, explain who we are, just to make them more comfortable. Once, in India, we got hit by a group of women, so you also have to deal with these reactions. 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? BM & AL: We would say both. For some specific projects, when we know what we want to document, we try to get information. If we do a reportage on fishermen along the Nile, we need some information regarding their culture and we try to meet them several times to have a better understanding of what we want to shoot. But being prepared does not mean being hermetic to the unexpected. On the other hand, when we travel or just walk around with our camera we don’t plan what we will shoot but our mind is focused on the environment that surrounds us. 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? BM & AL: Our equipment was chosen by our project. We needed something practical and resistant to travel with for 8 months. We were going to countries where you face high temperatures in the Sudanese and Egyptian desert, and sometimes heavy rains in the Ethiopian highlands. It needed to be ‘tropicalised’, waterproof. We had to choose a quality camera but also did not want to look too professional or journalistic. We have a Lumix G-90, which offers a good compromise between photography and also video making. You can always choose better equipment, spend more money, improve your lens but this camera is a loyal ally. To compensate for some technical aspects you need to work on composition, light, timing, which is also really thrilling. We use a 12-35mm lens, many photographers prefer a fixed focal length, we agree with them except that there are situations where you can't just come closer or go further away for your ideal composition. There, the zoom is welcome. TPL: Are there any other special photo projects you are currently working on that you would like to let everyone know about? What are some of your goals as a photographer? Where do you hope to see yourself in five years? BM & AL: Our current project depicts how people at the source of the Blue Nile are connected to water and the river. But our final goal is to render a broader picture of the people of the Nile (Ethiopia, Sudan and Egypt). This work will be a comparison, a kind of tryptic, but also a way to connect people around a shared river in the context of regional tensions. We hope to exhibit our final work in those three countries and create dialogue through them. We were inspired by photojournalism and photo reportage. We love to tell stories through photographs. The idea is to use images as a complement to texts and stories. You first need a story, a context, and a caption. Images are there to illustrate this story, it does not replace it. Pictures can help to convey a message, through emotions and sensations. Our mission is achieved when someone remembers one story by remembering one specific picture. We hope to keep telling stories through pictures. TPL: "When we are not out photographing, we (like to)… BM & AL: Think about all the amazing reportages we could do. Every day we encounter people, ideas or situations and we are thinking we could spend one month just staying there and reporting their stories. We wish we could slow down the time in our fast societies, but we also know it is up to each of us to do something for it. Sometimes just be a spectator, we sit in the streets, take a traditional Ethiopian coffee and wait. Usually, people are curious and come to talk to us. As they penetrate your reality, they become the strangers and you are the landscape." Bastien Massa and Arthur Larie have shown us the importance of standing up for causes that matter, and how great a difference small actions can make. We must all become more conscious and aware of the gravity of the situation concerning the Nile ecosystem. It is our moral duty to take advantage of this opportunity and to join Bastien Massa and Arthur Larie in their mission of raising awareness. We can start by sharing their work on social media, donating to their cause, and spreading the message to our families, communities, and organizations. Together, let us continue to fight for the well-being of our planet and for the protection of the Nile ecosystem. 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