NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by illustrator Fran R. Learte and creative director Natalia Molinos. Their work combines an impressive range of digital elements and abstract patterns which they create in order to elaborate pieces of art with a deeply aesthetic feeling. NASTPLAS NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by illustrator Fran R. Learte and creative director Natalia Molinos. Their work combines an impressive range of digital elements and abstract patterns which they create in order to elaborate pieces of art with a deeply aesthetic feeling. LOCATION Madrid SPAIN CAMERA/S Canon, Polaroid WEBSITE https://www.nastplas.com/ @NASTPLAS_SNAPSHOT @NASTPLAS FEATURES // Conceptual Reality

I draw inspiration from the stunning natural landscapes and diverse wildlife found in the Yarra Valley. My dedication to encapsulating the essence of this remarkable region through photography has earned recognition in numerous international and national publications. While my expertise primarily lies in landscape photography, I also specialize in professional portraits and various other genres and styles. SEAN PARIS I draw inspiration from the stunning natural landscapes and diverse wildlife found in the Yarra Valley. My dedication to encapsulating the essence of this remarkable region through photography has earned recognition in numerous international and national publications. While my expertise primarily lies in landscape photography, I also specialize in professional portraits and various other genres and styles. LOCATION Healesville AUSTRALIA CAMERA/S Full Spectrum Converted Nikon D800 (Infrared), Nikon D850 WEBSITE https://www.seanparisphotographer.com/ @SEAN.PARIS FEATURES // Koala Country

BOOK BOOK May 3, 2021 GROUNDED Photography by Samantha Brown Words by Samantha Brown and Melanie Meggs Samantha Brown is a British-Canadian photographer, and a digital nomad. Over the last year Samantha has documented the pandemic, mostly from the back of her campervan 'Juno', whilst travelling safely in line with local lockdown restrictions. GROUNDED is her first book. How does a pandemic affect a physical place, and our sense of self within it? That's the question that Samantha pondered on a ten month, socially distanced journey in 2020. Departing India prior to the grounding of flights in March, Samantha documented the empty streets of Bristol during the first lockdown, before venturing to Europe via a deserted ferry as restrictions eased. Along the way, she encountered an out-of-season, out-of-time atmosphere that haunted every landscape, allowing her to explore themes such as alienation, loneliness and the isolation of travel. GROUNDED is a photo book of visible beauty towards a deeper well of immersive, indefinable emotion filled with promise and hope. Every page is a joy to look at by itself. The book can be understood as a travel memoir, too, inspiring those who are wanting to begin a similar journey. Grounded is presented as a special boxed book with a signed 10x8" print. Available exclusively from www.artdecomagpie.com (ADM Publishing). First edition run of 150 copies. Published: April 2021 by ADM Publishing Book - 70pp softback book on 170gsm paper. 350gsm cover with matt laminate. Perfect bound. Digitally printed. 253mmx203mm. ISBN: 978-1-9997596-3-6 READ INTERVIEW CLICK ON IMAGES TO ENLARGE

Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. STEPHEN LASZLO Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. LOCATION San Francisco UNITED STATES CAMERA/S Leica M10 Monochrom and Leica Q2 Monochrom Reporter WEBSITE http://stephenlaszlo.com/ @STEPHEN_LASZLO_PHOTOGRAPHY FEATURES // On The Streets of San Francisco

I am not a street photographer that has studied the works of the renown pioneers of the genre, nor have I completed a photography qualification. Simply I am mostly a self-taught amateur photographer. Photography was a natural extension of my love of travel. The journey probably started during a trip to Ethiopia and Morocco. I captured a couple of images that drove me to explore photography as something more than a means of taking record pictures. Upon returning home I started to make the effort to go out and walk the streets and alleys of my hometown Melbourne and its inner suburbs, and in the process I started to discover my home cities true soul. From there I just photographed whatever captured my attention, slowly forming an understanding, vision and style for my photography. ADRIAN WHEAR I am not a street photographer that has studied the works of the renown pioneers of the genre, nor have I completed a photography qualification. Simply I am mostly a self-taught amateur photographer. Photography was a natural extension of my love of travel. The journey probably started during a trip to Ethiopia and Morocco. I captured a couple of images that drove me to explore photography as something more than a means of taking record pictures. Upon returning home I started to make the effort to go out and walk the streets and alleys of my hometown Melbourne and its inner suburbs, and in the process I started to discover my home cities true soul. From there I just photographed whatever captured my attention, slowly forming an understanding, vision and style for my photography. LOCATION Melbourne AUSTRALIA CAMERA/S Canon 6D MII @ADTAMO FEATURES // The Invisible Workers Praying For Peace Beautiful Coincidences

BREAKS FROM REALITY The magic only dreams are made of become the reality for viewers as they engage in the poetic imagery of Mariëtte Aernoudts. BREAKS FROM REALITY May 20, 2022 INTERVIEW PHOTOGRAPHY Mariëtte Aernoudts INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Mariëtte Aernoudts is an artist living and creating art in a small village in Raamsdonksveer, about an hour drive south of Amsterdam. Mariëtte is an autodidact photographer and image maker creating images visually depicting her own poetic world of fairytales. The magic only dreams are made of, become the reality the viewers are immersed in, when they engage the visual stories Mariëtte creates through her photography and poetic imagery. Mariëtte would always photograph her own children, and this led to her interests in photoshop. She enjoyed making photographic montages, expanding her abilities to create these fantastical worlds where her fairytales would soon play out. Mariëtte began engaging children in her neighborhoods and in the streets to practice and experiment with this new idea of portraiture as a montage. She started working conceptually, creating a narrative for each image, often alienating her subjects creating solitary environments. Mariëtte tells us, “I am always looking for new and innovative ways to add reflections of my own feelings and emotions to my photos and aim to take the viewer just a little step beyond the ordinary.” This inner reflection adds depth and soul to her poetic fairytales. Mariëtte was given some good advice once that has become an important thread in her work and has become part of the way Mariëtte approaches and creates her work. They told Mariëtte to only make series that are close to her, hold meaning for her. In her series of work titled OBSTACLES is a photographic autobiography that tells the visual story of living with anxiety through a series of images. Mariëtte wanted to express the consequences of anxiety in many ways. “Shall I, or Shall I Not, also known as Obstacles, was made to break through the taboo around living with anxiety. Millions of people have to deal with this, it is always hidden and in my opinion not accepted and is viewed as a sign of weakness.” Mariëtte depicts her subjects in conflict with the struggles they face, but also in the light, not darkness, exposing the realities not hiding them. Mariëtte's trilogy of poetic images in her tryptic THE JOURNEY, conveys the whimsical story about a young girl being very curious in life. The young girl starts in the morning and her return is in the evening. “What did she experience?!? That’s totally up to the viewer to interpret,” says Mariëtte. Mariëtte brings us along for the journey allowing us to participate in the adventure. One of Mariëtte’s favorite things in photography to explore is caching motion. The freedom of the movement elicits feelings of spirit of adventure and childlike joy in the playful acts of having fun. Mariëtte loves working with colors to express the fun depicted through these playful images saturated with a palette of hues expressive of the emotions and spirited wiles of youth. Mariëtte has been a member of an ambitious, small photography club for the past seven years. The goal of the club is to help each other achieve a higher level of knowledge to accomplish their photographic goals. Mariëtte is challenging herself with social themes in a variety of series. She is not trying to tell her story with documentary images, but instead she creates her fairytales through symbolism and visual poetry. Mariëtte says this new work is very relaxing and has found it to be a good way to get more connectivity to nature. I had the absolute pleasure to interview Mariëtte and this is what she shared with us at The Pictorial List to inspire you all with. “I always want to express emotions in my photography or at least try to make people curious about the story in the photo. Often the viewer can make their own story by ‘reading’ the scene.” IN CONVERSATION WITH MARIËTTE AERNOUDTS THE PICTORIAL LIST: Mariëtte please tell us about yourself. How does where you are from influence your work and when did your journey into photography begin? MARIËTTE AERNOUDTS: I was born in a little village in the south of the Netherlands. We had enough possibilities to play outside and used our imagination with the available situation without toys. In our village we had no cultural life, no cinema, no museum and at home we never discussed the subjects. Photography was not in my life at all. But I loved books, and had many adventures in the stories. Nowadays I live in a village in the middle of the country and spend my days mainly with photography in different ways: reading about it, experimenting, watching photos on the internet and I post sometimes, and also I work on commission. My journey began by using my husband's analog camera. Mainly photographed our children, on birthdays, during holidays and special occasions. I wanted to make memories for the future as I don’t have any photo of myself as a child. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? MA: The first camera I held was an analog Yashica, don’t recall the type. I shot with an auto. Nowadays I have a Canon 5D Mark III and a Fuji TX3 which I always take along. I always shoot with my own camera settings and photography is always a challenge now to make the desired result as I see/feel things. TPL: You create these worlds of fantasy and illusion, with poetic notes of authenticity. You often work with children as your subject. Tell us why you choose your subjects, and how they personally have influenced your work. MA: I think I use the subjects because they bring me into a nicer world, softer and it is a little escape from reality. Children are so open and behave so naturally, I love their sincere expressions. 'Obstacles 1 - Pulling Your Life Together' © Mariëtte Aernoudts 'Obstacles 2 - Shall I' © Mariëtte Aernoudts 'The Journey I' © Mariëtte Aernoudts 'The Journey II' © Mariëtte Aernoudts 'The Journey III' © Mariëtte Aernoudts 'Colours - Red' © Mariëtte Aernoudts 'Colours - Yellow' © Mariëtte Aernoudts 'Colours - Orange' © Mariëtte Aernoudts 'Colours - Green' © Mariëtte Aernoudts 'Colours - Blue' © Mariëtte Aernoudts 'Cloudy Days' © Mariëtte Aernoudts TPL: Nature and the environment play important roles in your work, often seeing humanity mimic nature, or your environments mimic humanity, there is a strong connection. Tell us about these connections, and how they set the stage for your portraits. MA: Most of the time my models are selected based on their expressive faces and attitude. They are children or adults who make me feel their mood. For the portraits they don’t need a scene or setting because their expression moves me so much that this tells the whole story. TPL: In your series ‘Obstacles’ you address the challenges one faces when they are challenged with Anxiety Disorder, tell us the passion that drives this study. MA: In fact I myself have been managing my anxiety disorder since I was ten. It made my life a daily struggle and not many people knew about it. I lived to survive each day as good and ‘normal’ as possible but my anxiety became a hindrance in many ways. It was lonely because I thought I was the only one but through the years, talking about it, I met more and more people with the same problem. This is an underestimated problem and hard to understand. Therefore I wanted to break the taboo and shame by ‘showing’ it with my photos to achieve more understanding. I am always looking for new and innovative ways to add reflections of my own feelings and emotions to my photos and aim to take the viewer just a little step beyond the ordinary. TPL: Do you feel your work has therapeutic or healing qualities? Do you try to portray hope and possibilities through your studies and work? MA: I hope so! For me my work is a way to relax, have fun making it and sometimes it makes me very happy. It would be awesome when viewers feel the same. I always want to express emotions in my photography or at least try to make people curious about the story in the photo. Often the viewer can make an own story by ‘reading’ the scene. TPL: You directly engage your subjects whether in eye contact or through body language, it is honest, and genuine. Tell us the importance of this. MA: It is very important to read body language because this tells emotions of a person and all my models are always authentic and natural. I always work with them one on one, with the presence of one parent. Try to make contact as close to themselves and my emotions as possible. Before we start we have a long chat to get acquainted. Eyes are the soul of every person. TPL: In your series of single images, light plays an inherent role in the way you illuminate and define your subject. Talk about your quality of light and what it represents in these works of art. How long has Portraiture been a subject you have studied through photography? MA: My most used light is available light. Just a slight change of position of the head or body can make such a big difference. What I love to use is backlight to make materials like clothing or textures a bit transparent. It makes me wonder everytime when I reach this result. Light is a fantastic tool to work and play with. Sometimes the light enters a room or in plants in a way I really love and then want to catch it immediately before it will change. Actually, since I had my children, about 36 years. It all started then. The last 13 years I have spent more and more time on it. Then I started courses and workshops. The things I want to learn I look up on the internet and experiment just as long as I know how to do them. Once it took me a year to learn an act in Photoshop! 'Stairway to Heaven' © Mariëtte Aernoudts 'Worried' © Mariëtte Aernoudts 'Escaping' © Mariëtte Aernoudts 'Little Mona Lisa' © Mariëtte Aernoudts 'Autumn Thoughts' © Mariëtte Aernoudts TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? MA: I love the light Rembrandt used in his paintings and the colors of the Italian painter Rafaël. The photo portraits of Stephan Vanfleteren impress me very much, the way he captures the emotion of people is stunning. Sally Mann inspires me by her uninhibited child photography. My favorite Dutch photographers are Danielle van Zadelhoff, Carla Kogelman and Anton Corbijn. TPL: Are there any other photographic projects you are working on, or have planned in the near future? Where do you hope to see yourself in five years? MA: At the moment I am working on a project with mother and child. The way to imagine the story differs sometimes but work is in progress. In five years I hope to be healthy enough to keep on doing what I am doing now. TPL: “When I am not out photographing, I (like to)… MA: To take walks (not too far) together with my husband, have fun with my grandchildren and start to attend more art classes.” Mariëtte’s photography speaks to the fantastical worlds she has created or captured in the eyes of her subjects, and often times portrayed in the body language of their gestures. Mariëtte creates her spaces with details that add intrigue to her subjects, capturing your curiosity, captivating you to, smile with them, dance and sing with them, laugh and play with them, think with them, and maybe even cry with them. When Mariëtte chooses deep dark spaces to place her subjects in, the eyes become the intrigue, asking you to look deeper, to sink into their soul. VIEW MARIËTTE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

THE RHYTHM OF MY PHOTOGRAPHY Mena Sambiasi is not afraid to try new things, living in the moment, finding a personal connection between her visual translation of the musicians rhythm, as if they were playing just for her. THE RHYTHM OF MY PHOTOGRAPHY March 24, 2023 INTERVIEW PHOTOGRAPHY Mena Sambiasi INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Our featured photographer, Mena Sambiasi was born in Buenos Aires, Argentina in 1979. During her childhood and teenage years Mena spent many hours in front of the TV watching movies and TV shows, and dreaming of becoming a movie star. She went to a technical high school and studied advertising. Ironically the only subject Mena ever avoided was photography. In college, she studied Movies and TV Production, enjoying the creative parts of the whole process, but never the technical aspects. It was on December 31st of 2001 when Mena moved to Málaga in Southern Spain and joined her family who had been living there for a while. Mena found new work as a camera woman in local networks in her new community. After a car crash in 2005 Mena moved to Madrid where she worked in a few music video clips as a camera assistant and worked as a post production supervisor in a production company for five years. After watching the movie “Revolutionary Road'' (directed by Sam Mendes) Mena decided to quit her job and move back to Buenos Aires to study photography in more depth. Mena made it a weekly routine taking the bus five times a week for a few hours each day. She began taking abstract photographs and also of the people in the bus stops who seemed lost in their own thoughts, reflecting exactly how she felt. “I was back in my home country but couldn’t help but feel like a stranger. The workshop that changed my life was “Creative Photography”, and that’s where I discovered a constant in my work: reflections.” Mena came back to southern Spain in 2014 and ran the media department of a Swedish real estate agency taking photos of mansions from 2017-2020. 2020 brought Mena back to Madrid where she currently resides and finds inspiration, but don’t be surprised if Mena spreads her wings once again, finding inspiration and new ways of expressing herself. Mena describes her artistic intentions creating her captivating images “I define my photography as urban visual poetics. Vibrant colors, lights, compressed textures and geometric shapes are the protagonists. I compose an alternative reality filled with layers, product of a curious look. My photographs are meant to be deconstructed. They are ambiguous and as a journey to discovery, every detail can change the initial impression. A questionable visual depth, a debate between reality and illusion.” When Mena steps into a room filled with music, sounds that make everyone move and groove with inspirational energy, a powerful connection is made between everyone. This is when Mena relies on her instincts to react to what she not only sees, but also to what she hears. This is the way she approaches and engages her subjects, ultimately finding unique details that translate into sound. She finds a personal connection between her visual translation of the musicians rhythm, as if they were playing just for her. There is a vibrato of images that we share that are inspired by the freedom Mena experiences creating this work, allowing the relationship to go beyond her vision, and allows the music to influence her decisions, letting the art of the music to be the author of her images. We share Mena’s insightful thoughts on her approach to photography. “When it comes to my musical photos, I love the fact that I get to react to what I see, and embrace the freedom to play, my creativity pops and I get in kind of a trance.” IN CONVERSATION WITH MENA SAMBIASI THE PICTORIAL LIST: Hello Mena, share with our readers, what first drew you to photography, and how did it become the way you describe the world around you? MENA SAMBIASI: I studied advertising and media production and photography was always present. I later worked as a camera woman but it wasn’t until a trip to Paris in 2005 that I began taking photos for real, among my friends there was a photographer who taught me a few tricks and once I started I couldn’t stop. I express myself through photography...it’s therapeutic. It makes me feel like a kid, everything is new and exciting whenever I’m holding my camera. To be able to reflect the way I feel in an image just makes me want to do it over and over again, it helps me understand who I am and how I’m feeling with no words. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? Can you describe the creative process involved with the capturing of your photographs? MS: I would describe it as “detailed” photography, to me each photo is a feeling. Pictures can be from wherever since most of the time it lacks context. The way I see life is also based on details. I'm a very curious person, always trying to learn new things, always wondering how and why. I would say that what I’m trying to achieve is to express how I feel and to be able to do so with my camera is a wonderful thing. As for my creative process I always go out with music, and couldn't do it without a soundtrack. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? MS: I have to say I am not the kind of photographer that was taking photos from an early age, perhaps because I wanted to be an actress so I was much more interested in being in front of a camera rather than behind. First camera I bought was a Nikon F60 with a 28-80mm lens back in 2000. My present camera is a Fuji X-T3 and I mainly use a zoom lens (50-140mm f2.8). It's great to take reflections since I physically cannot get closer, I’m in love with it! I also own a Samyang AF 12mm f2 which I use for other kinds of photography, once in a while I take it out on the street, most of all when I feel as if I wanna try something different. I'm quite happy with the equipment I have, but I would love to have a lens that goes from 10mm to 300mm with an aperture of f1.4. I do not think it exists, and if it does...it would cost a fortune...which I'd rather spend traveling. TPL: When you are photographing, do you usually have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both? Please describe your process. MS: I am not a “project” person. I am the kind of person that likes to be surprised. If not, I feel kind of trapped. I would say I react to what’s in front of me. My photographic reflections are meant to be deconstructed. As for my “direct” shots, those are about loneliness and most of the time they don’t have a clear context. Showing things that at first may seem a little sad, but the way I see it, is that there is always hope and beauty. Most of these ones are full of textures and are about the passing of time (street posters, abandoned objects, deteriorated painting in a wall, etc). Something that’s unusual, perhaps, is why 98% of my images are vertical. TPL: You engage many different genres of photography, and seem to adapt to each very well. Why have you chosen this path and what has it brought to your work? Tell our readers a little about the different areas of photography you explore. MS: I love to learn new things and to leave my comfort zone. I have taken architectural photographs. Given that I worked in a real estate agency for three years, I had a blast. I really enjoyed it. A few months ago I had the chance to take photos in a discotheque and had so much fun taking them. I enjoyed taking the photos that were without the flash, they were very theatrical. I have to say that I’m more of a “still objects" person rather than a people person, when it comes to photography. I’ve never felt comfortable telling people how to act in front of a camera since I hate being in front of a camera. After that came the concert photographs. I felt so lucky to have been given the chance to do so. It’s so cool that you get to work and have fun at the same time. Recently I did a shooting for a company, for an ad agency, where I had to direct actors. Funny enough it was only hard for the first five photos, afterwards I was having a great time doing something I thought I could never do. Client was very happy, I was told that they’ve never seen photos like mine before and I think it’s because street photography taught me how to see in a different way. I call it the hunter’s way where the person doesn’t pose, instead they just are who they are and I react to them, instead of the opposite way. TPL: Your concert series are vibrant, engaging all the senses. They take the viewer by the hand and invite them to share the music that fills your ears. Tell us how you approach your subject, and how you translate what you see, and hear. MS: My concert series are also very detailed images, most of them lack context and capture the movement, expression and most importantly, I feel as if they capture the musician enjoying their work. Perspective is very important, as is the lighting from the venue. In this series, I use the long lens and also the 12mm. Once again, with these images I feel like a hunter. I react to them, which is something that I enjoy more than when they are posing for you, or even looking at you. I love the adrenaline of not knowing what’s next. I express myself through photography...it’s therapeutic. It makes me feel like a kid, everything is new and exciting whenever I’m holding my camera. TPL: You have focused over the past year on marketing your photography. What are some of the challenges you faced, and how you overcame them. What were the successes, what advice would share? Are there any special projects that you are currently working on that you would like to let everyone know about? MS: Last year I began working with two online platforms, so far so good. A few years ago I went to a lot of galleries and presented them my cool and unusual portfolio, which they loved but I will always remember what one of them told me: “sorry, we only work with renowned photographers”. And, still today, I am wondering how I could be renowned if you don’t want to get to know me? I did a bunch of exhibitions. I am lucky enough to sell my work every so often. But I am still trying to understand how this world works. It is an exhausting path to choose and at the same time an amazing one to be on. I am currently working with a photographer friend on a joint project which if we’re lucky will become a book and have an exhibition. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? MS: I would choose Saul Leiter. When I saw his work in a creative photography workshop I took I could not believe how beautiful his work was, his sensitivity, his colors, perspective, textures. And I think his images are so breathtaking because of his background in painting and because he was not trying to impress no one, he just took photos for himself. TPL: What have been some of your most favorite places you find inspiration to explore through your photography, and what draws you there? MS: In the cities I find my elements of expression, I am attracted to details that reflect a whole. I am deeply in love with San Francisco and New York. Also Madrid where I currently live. I went to Venice a few years ago and it was absolutely beautiful. I would say I am drawn to places that are modern and at the same time have certain areas where you can see that time has passed by, others would call it decadence I call it beauty. TPL: What do you want your photographs to inspire in other people? What is their “takeaway”? What is your take away? MS: The viewer's experience is what defines my artwork. The absence of a clear and defined message becomes the message itself. The viewer is invited to feel anything with the acceptance that in itself it is a tremendous act. There’s a multiplicity of meanings that one can experience depending on the mood of the moment. TPL: “When I’m not out photographing, I (like to)... MS: Travel (but if I’m traveling I’m taking photos, haha), play soccer/football, hang out with friends, watch TV shows and movies. The Pictorial List thanks Mena for sharing with us her journey through life as a person that is not afraid to try new things, and live in the moment, allowing herself to engage in new ways of critical and creative thinking. Mena is not afraid of change, but has embraced it throughout her life. She presents original photographic works in her portfolio on our website. They embrace the textures and intrinsic and intimate details in the urban landscape of Madrid. Follow her links for even more amazing photography, and live in the moment with her. Mena’s work is always for sale and you can connect with her on Instagram. VIEW MENA'S PORTFOLIO Instagram >>> Instagram - music series >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

SPECTACULAR VISIONS Karin Svadlenak combines her love of art and culture with her passion for photography. SPECTACULAR VISIONS February 20, 2020 INTERVIEW PHOTOGRAPHY Karin Svadlenak INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Karin Svadlenak is far more than just a public relations manager for a university department in Vienna, Austria. She is a world traveler, an avid photographer, an art lover, and a passionate magazine editor and blogger. Her photography captures the essence of various genres, from landscapes to documentaries, and her appreciation for the arts has led her to explore different performances and exhibitions around the world. She is the Editor for The Pictorial List and the Founder and Editor in Chief of Spectaculum Magazine, and through her Viennacultgram blog, Karin shares her personal experiences and insights with the world. From her vibrant career to her creative endeavors, she is sure to inspire all with her journey. “I started getting into photography as a teenager, before digital photography came along, but it was mostly just travel and family photography. I knew nothing about cameras or composition. But I loved capturing beautiful landscapes. It stayed like that for many years. Only for the last three years or so photography has become a major passion and occupies my mind fairly constantly. Now it can happen that I am watching a theatre performance, and suddenly there is a moment where my mind goes, “I wish I could photograph that!”. The odd thing about it is that this passion actually originated with Instagram. In my home town Vienna, we have an active community of photographers on Instagram (@IgersAustria and @IgersVienna) who regularly get together for events. And one day a friend asked me to join one of these ‘Instawalks’ - well, the rest is history, as they say.” IN CONVERSATION WITH KARIN SVADLENAK GOMEZ THE PICTORIAL LIST: What is your source of inspiration, Karin? KARIN SVADLENAK: The discovery of different cultures gets me really excited. And nature provides constant inspiration. But these days I am also inspired by everyday scenes and by the architecture and culture of my own city. TPL: Do you think your style of photography has evolved since you started taking pictures? KARIN: Yes, it has changed a lot. When I started out, I knew nothing about composition or even how to use aperture or speed. A year ago or so I took a few basic photo workshops and also learned by trial and error. It is a process that is ongoing, and I do not think what I do now is necessarily what I will be doing in photography in a year's time. For me diversity has always been the spice of life, and I do not want to be limited to one particular style, or topic. But I would say I have moved from a point where I tried to exclude people from photos (focusing mostly on empty landscapes) to an approach that tries to include human life. At the moment, what most excites me is street photography, capturing people in their environment, moments of life or, as the case may be, still-life. So now when I travel to a new place, the types of pictures I take are quite different from before, although of course I still take your average tourist picture too. I am also quite attracted to documentary photography, but have not yet got seriously into it. But maybe that is what I will be exploring next. Telling stories. TPL: Where is your favourite place to photograph? KARIN: Anywhere. Although I would say, the more different from my own culture zone, the more exciting. I also really like shooting performances, like at the circus or other performances, where you have wonderful light situations and great colours. TPL: Do you think equipment is important in achieving your vision in your photography? Do you have any tips for someone just starting out? KARIN: I am definitely not an expert on equipment. I photograph with a small mirrorless system camera, for which I have several different lenses. I think it is more important to have an eye for composition and for beauty, if that is the goal. These days you can even do a lot with mobile cams, although I still find that the camera gives me more/different options. If you're just starting out, I think it is definitely more important to get some background on composition and understand the basic settings of the camera rather than going out and buying super-duper expensive equipment. The discovery of different cultures gets me really excited. And nature provides constant inspiration. TPL: What characteristics do you think you need to become a 'great' photographer? KARIN: A good eye. The ability to observe your environment and decide on what is worth capturing, and how. Storytelling is an important aspect. Ask yourself...What do I want to communicate about or with a picture? TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KARIN: That is difficult to say. I find quite a lot of good photography on Instagram (and quite a lot of bad too, of course). When I first started out, I was mainly keen on landscape photography, and there are a few of the well-known photographers in that genre whose books I acquired. There was Galen Rowell, a wilderness photographer whose mountain photos I loved. And of course Ansel Adams, whose black and white landscape photography I have always loved. If we're talking big names, I also quite like the portraits by Annie Leibovitz. In the last couple of years or so I have become very interested in street photography, and in that genre I adore the work of Henri Cartier Bresson and Elliott Erwitt. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KARIN: Generally, I like to produce series about a place or a topic, rather than just putting out individual pictures on Instagram. It forces me to think more clearly and curate my pictures so that I can tell a story or document something. I also write a blog, about cultural and travel activities in my city and elsewhere. So this also is a project where I am putting my photos in series to document a particular event or theme, together with background information. And perhaps I do want to mention something we recently started at The Pictorial List: "Pictorial Stories", in-depth photo reportages about different topics. I really enjoy the process of putting such stories together with the photographers who contribute their work and ideas to the stories. TPL: “When I am not out photographing, I (like to)… KARIN: Read or walk out in nature with my dog.” Karin combines an insatiable curiosity for art, culture, and photography with a love for storytelling. The Pictorial List is truly privileged to have Karin as an Editor, and the work she has done is invaluable to us. Please connect with Karin through the links below. VIEW KARIN'S PORTFOLIO Read Karin's blog >>> Karin's instagram >>> Go to Spectaculum Magazine >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

IN THE MOOD FOR BEAUTY Georg Reiter is always in search of symmetrical shapes, both in architecture and in landscape, and in all of it, the mood of the scene. IN THE MOOD FOR BEAUTY July 28, 2020 INTERVIEW PHOTOGRAPHY Georg Reiter INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Born in Salzburg, Austria, photographer Georg Reiter now lives in Vienna. His preferred genres are architecture and landscape photography, but he also does some lovely still life photography. He is always in search of symmetrical shapes, both in architecture and in landscape, and in all of it the mood of a scene is important to him. Even when photographing street scenes, his photographs have a highly aesthetic and yet natural feel. He works with contrast and light to bring out special features or moods. Nowadays he likes to explore a setting without a camera before returning to it to take the picture he has envisioned in his mind. “I am strolling around and always looking for moody scenes. I am not interested in capturing just a landscape, cityscape or architecture...I want to capture the mood surrounding that landscape or architecture.” IN CONVERSATION WITH GEORG REITER THE PICTORIAL LIST: Georg, can you tell us when you started getting interested in photography? GEORG REITER: It was in school, when I was 14 years old. We could decide between stenography and photography. I chose photography, as that was what I really wanted to do. TPL: Has your style of photographing changed since you first started? GR: Yes, my style, and my kind of post-processing, all have changed since I started. In my early years of photographing, with my first analog camera, I used a lot of filters, especially red and yellow to make the photos more dramatic, with hard contrasts. And I just went out and took pictures. Now I go out first without a camera to look for a motive, and come back well prepared to take a photo according to my idea. TPL: Where is your favourite place to photograph? GR: I really like the "Weinviertel"*, especially in the winter, when there is little snow. There are small hills, some tree rows for wind protection, and very small villages with old houses. *a wine growing region in lower Austria TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GR: Michael Kenna from Great Britain. His long term exposures, his special style has influenced me the most. And there is one painter I really like, Lucian Freud. When I do portrait photography, it is his kind of style of portraits that influence me. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone else just starting out? GR: Technical equipment is not so important to me, but I already love my wide angle lens. The most important feature for me is that the camera can be used in manual mode, so that I can determine how the photo will look. Now I go out first without a camera to look for a motive, and come back well prepared to take a photo according to my idea. TPL: What have been the positives and negatives of Instagram regarding your photography? GR: Instagram is important for me, because I see photos from very creative people. Some of these photos have influenced my style in the last years. The negative side of social media, not only Instagram, is the time you spend on it. TPL: Have you ever been involved in the artistic world before photography? GR: Yes, the parents of some of my friends who grew up with me were writers, and some of these friends went to art school. I graduated from Oskar Kokoschka´s "Schule des Sehens" (School of Seeing). TPL: Are there any special projects you are currently working on? GR: Yes, I am currently working on a project about the "Flaktürme von Wien"(flak towers of Vienna). TPL: If I wasn't photographing what would I be doing?... GR: I really don't know, I never thought about it. I have always been taking photos. Georg Reiter is an inspiring photographer whose work speaks for itself. With his eye for symmetry, contrast and light, he expertly captures the mood and essence of his subject matter. His photographs portray a highly aesthetic and natural feel, regardless of whether it's architecture, landscape, or still life. Georg's work is inviting and captivating, and viewers will find themselves in another world when looking through his portfolio. We encourage you to take a closer look at Georg's photography and see what he can create for yourself. GEORG REITER Read CYCLING CUBA by Georg Behance >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

Based in the Ruhr Area in Germany, I am working as a teacher at a primary school. In my free time I love to draw or to take pictures with my Leica. I have an enormous passion for fine arts since I was little. In my presented series I want to show the beauty of the often underestimated region, I am living in. The Ruhr Area has a huge industrial tradition. I edit all my pictures in black and white, because I'd like to reduce my objects to their essentials. Furthermore I have the opportunity to focus on contrasts, shapes, textures by working like this. SARAH LUHSE Based in the Ruhr Area in Germany, I am working as a teacher at a primary school. In my free time I love to draw or to take pictures with my Leica. I have an enormous passion for fine arts since I was little. In my presented series I want to show the beauty of the often underestimated region, I am living in. The Ruhr Area has a huge industrial tradition. I edit all my pictures in black and white, because I'd like to reduce my objects to their essentials. Furthermore I have the opportunity to focus on contrasts, shapes, textures by working like this. LOCATION Ruhr Area GERMANY CAMERA/S Leica Q2 FEATURES // Ruhr Perspectives

I use photography to explore themes of womanhood, the essence of place, and the transitions of human experience. My work involves layering and interventions to create different ways of seeing and considering identity. My work has been recognized by the Julia Margaret Cameron Awards, IPA Awards, and LensCulture. In 2024, I was nominated to apply for the Leica Oskar Barnack Award. My images are included in the collections of The Wittliff Collections, CENTER Image Library and Archive, Texas A&M University, Concordia University, Austin-Bergstrom International Airport, and The Loren at Lady Bird Lake, as well as private collections. I have exhibited my work in the United States, Japan, Italy, Spain, and India, through galleries and juried shows. My work has been published by RAW Magazine, FRAMES Magazine, PDN Magazine, National Geographic Traveler, Dodho Magazine, and The Austin Chronicle, as well as other independent photo reviews. I have participated in discussion panels and interviews conducted by art curators. My first monograph, Where the Ocean Drinks the Sky (2021), is installed in hotel rooms and has sold out two editions. My second book, Daydream in Memories of Youth (2024), received Honorable Mention from the Paris Photo Prize and the International Photography Awards. It was also named a Juror Top 5 pick in the IPA 2024 competition. I undertake assignments, commissions, and personal projects worldwide. STEPHANIE DUPRIE ROUTH I use photography to explore themes of womanhood, the essence of place, and the transitions of human experience. My work involves layering and interventions to create different ways of seeing and considering identity. My work has been recognized by the Julia Margaret Cameron Awards, IPA Awards, and LensCulture. In 2024, I was nominated to apply for the Leica Oskar Barnack Award. My images are included in the collections of The Wittliff Collections, CENTER Image Library and Archive, Texas A&M University, Concordia University, Austin-Bergstrom International Airport, and The Loren at Lady Bird Lake, as well as private collections. I have exhibited my work in the United States, Japan, Italy, Spain, and India, through galleries and juried shows. My work has been published by RAW Magazine, FRAMES Magazine, PDN Magazine, National Geographic Traveler, Dodho Magazine, and The Austin Chronicle, as well as other independent photo reviews. I have participated in discussion panels and interviews conducted by art curators. My first monograph, Where the Ocean Drinks the Sky (2021), is installed in hotel rooms and has sold out two editions. My second book, Daydream in Memories of Youth (2024), received Honorable Mention from the Paris Photo Prize and the International Photography Awards. It was also named a Juror Top 5 pick in the IPA 2024 competition. I undertake assignments, commissions, and personal projects worldwide. LOCATION Texas UNITED STATES CAMERA/S Leica QP, Leica M10, Fuji XT-3 and Fuji XT-5 WEBSITE https://stephanieduprierouth.com/ @STEPHANIEDUPRIEROUTH FEATURES // Daydream in Memories of Youth

PICTORIAL STORY THE BIG BREXIT MESS September 24, 2020 PICTORIAL STORY Photography and story by Fabio Barzaghi Introduction by Karin Svadlenak-Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Fabio Barzaghi is an Italian photographer who likes to explore places through people and tell stories with his photography. In September 2019, when the confusion over Brexit was at its peak and the actual Brexit date was still up in the air, he visited Scotland. There he delved into the hot topic of Brexit from the locals’ point of view. On June 23, 2016, the British people voted in a referendum with a majority of 51.9 percent in favor of leaving the European Union (EU). After lengthy negotiations and three extensions of the withdrawal period (due to multiple rejections of the withdrawal agreement by the British parliament), an agreement on a withdrawal agreement was finally reached. The United Kingdom left the EU on January 31, 2020. The withdrawal agreement entered into force on February 1, 2020. It includes, among other things, the "divorce bill": outstanding financial obligations the UK has to the EU. The agreement provides for a transitional phase until December 31, 2020, during which the EU legal framework remains applicable to the United Kingdom. What will follow thereafter is still subject to negotiation. Even if an agreement is concluded on time, the UK will be a “third country” to the E.U. from January 1, 2021, which comes with all kinds of impacts on residence rights, travel, trade, student exchanges, data protection issues...and the list goes on. When Fabio traveled to Scotland in September 2019, things were even more unclear than they still are now. He talked to us about his experiences and thoughts. This is his story. Oh Brexit, Brexit, what art thou, Brexit? Three years – and counting – and both the United Kingdom and Europe are still working hard to figure it out, with the topic getting more intricate every day. So, last September I spent some time in Scotland to delve into the hot topic of Brexit state-of-the-art from the locals' point of view. Knowing that Scotland has a reputation for wanting independence from the rest of the UK plus having read of the social-economical-geographical traits of that beautiful region and some comments from experts on politics about the Brexit vote in Scotland, I must admit I didn’t know what to expect: would I find EU supporters or EU leavers? The people I spoke to offered some meaningful, engaging and stimulating conversations. In general, I was surprised to encounter so few who rooted for independence, which I had imagined would be the common ground. The majority of the people (of all ages) that I talked to put the 2016 vote into some historical perspective and context to give me the best and most reasonable explanation of the “take back control” idea that led 51.9% of the British population to opt out of EU membership. It was unexpected and so very interesting to hear people using both the ancient and recent history of their country to interpret what is happening right now. From their words it was clear that the “Great British Empire” is a heavyweight legacy whose memory will never be forgotten and will forever be wanted back. The people I met all recognised that the world has (obviously) changed since the height of the British Empire, and that with a fluid society that grows at the speed of globalization, pursuing policies of isolation not only won’t work, but may be suicidal. That, along with the "still lit up" grudge towards France, Britain’s economic decline in the 1970s and in more recent years, and the loss of its colonies, have been fertile ground for the Brexit campaign. It is centered around the idea of the British identity being under attack from the outside, Britain having given away too much sovereignty to Europe when it entered the European Union. Many cited economic inequality, too much money being sent to Brussels, the decline of quality of the NHS (the National Health Service), and other problems — wrongly attributed to European immigrants. They all recognized that those are all untrue myths, but, sadly, myths that are easy to share and absorb by people who only rely on modern, but poor-quality informational channels. If it were up to me, personally, I would call myself a Remainer, so when I heard about the results of the vote that made it official for the UK to leave European Union, I was in a state of disbelief. I have visited the UK many times and my personal experience is of a country that treasures and values welcoming and integrating people from all around the world, knowing that diversity enriches every aspect of life, whether it be culture, art, food, economics, or technology... I have ideas and opinions shaped by my own experience and upbringing, but I believe that nowadays putting on the table topics such as imperial ambitions like the UK has done with the Brexit campaign is anachronistic. It is unthinkable to stop immigration by closing borders or fighting dinghies. That’s a simplistic answer to a very complex issue. Laws and actions are due and necessary but cannot come from a single country; I know this well, seeing hundreds of people every day trying to reach Sicily. Those laws must be conceived at a European level, because the topic is multi-layered and affects every country. © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi © Fabio Barzaghi Entering the EU was a reason of great joy for me: I mean, freedom of movement among the different States, a single currency, strict laws to assure the best quality on food and clothing (among others), a stronger health system - and the list could go on and on. That’s why I see the EU as the place where democracy, tolerance and empathy happen, and I am proud to be part of that, as well as to contribute to that. That’s why it makes me angry and sad to think of the confusion and the division that poisoned the UK society and resulted in Brexit. As Alcide De Gasperi, one of the 'fathers of Europe' said: “The future will not be built through force, nor the desire to conquer, but by the patient application of the democratic method, the constructive spirit of agreement, and by respect for freedom.” view Fabio's portfolio Read an interview with Fabio >>> Instagram >>> Sources used in this story - Information on Brexit from the European Union The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. 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