FARAH'S CHARIOT Carla Henoud is a journalist and a photographer who captures sweet sceneries set on Beirut's famous Corniche that show her love for this place. FARAH'S CHARIOT March 25, 2021 INTERVIEW PHOTOGRAPHY Carla Henoud INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Life itself can be beautiful but for those that get a chance to experience the beauty that is Beirut's Corniche, there is something magical about it. Carla Henoud has been fortunate enough to capture this magic in her photography and has dedicated her last three years to documenting this stunning place with her lens. The result of these efforts have been exhibited in a gallery and published in a book, 'Le Chariot de Farah' in 2018, and it has been a testament to the beauty that Carla has seen in the Corniche. Her photos capture the picture-perfect scenes of the Corniche, full of life, with its picture-perfect blue skies and its people. No matter who is viewing Carla's work, the emotion that she has captured in her photographs is undeniable. “As a reporter, I had the opportunity to interview a man called Ali who used to work on the Corniche and sell orange juices on a wooden cart, as his father and grandfather used to do. But the authorities forced him to stop and destroyed it. As I was taking pictures of this and Corniche for about 3 years and had important material and archives I could use, I decided to write my own story inspired by Ali's. Most pieces of the story and the characters are taken from my own family, and I replaced Ali with Farah, a young woman working in a man's 'field'. 'Le Chariot de Farah' starts in the 60's and ends in 2018. It describes perfectly what Beirut was and still is. Or maybe what we are fighting for, keeping it a mixed city where people from different backgrounds and religions can live together peacefully.” IN CONVERSATION WITH CARLA HENOUD THE PICTORIAL LIST: Carla please tell us about yourself. How did you become interested in photography? CARLA HENOUD: I was born in Beirut, Lebanon. Lived for ten years in Paris, France, during our 'civil' war, and came back home late 90’s. I started taking pictures at 16 years old, with my Canon AE1. Then I studied advertising at the Lebanese Academy of Art (ALBA) and developed this passion since then. As a journalist, photography became also part of my work, as it tells story as well as my words do. TPL: What is it that you enjoy about documentary photography? Explain your technique? What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? CH: I find it challenging to go to the same place and discover new things about it. That same place is like my theater; it is the same background with different characters, variant lights, various stories, etc. The corniche by the sea, in Beirut, is my place of choice; it probably is the only spot in Lebanon that reunites people from different social classes and religions, in perfect tolerance and harmony. This is how Lebanon should be! Apart from its symbolic aspect, the corniche is also the scenery I always like to capture at all hours and in different seasons. It includes everything I choose to have in a picture: the sea, the sky, the human element and the street. It is urban and nature photography in one. Therefore, my personal challenge is to ‘cast’ the right human element at the right time in this existent scenery. I have been doing this for five years now before issuing the Book “Le Chariot de Farah” in October 2018. As for the technical part, I always carry light cameras to move easily. I also use wide angles and/or 50mm. No zoom lenses! I prefer getting closer to my subject, establish a quick contact, build trust that might lead to a conversation. No photoshop ever! I remain as close and intimate as possible to what I see. The angle I choose to snap the picture will make the difference. Being a journalist and a photographer, my purpose is to tell stories through my lens and share (new) emotions. TPL: What is it like photographing on the streets of Beirut? How has the pandemic affected you personally and your photography? CH: I enjoy going to the same place over and over again (the Corniche) and I always find inspiration. Always able to find and show something new, to discover new people, to meet others that I discovered during all these years and listen to their stories. And share all that. The sky, the sea, a person, are very important in my pictures. And most of all emotions. Beirut is a living city, so many beautiful and sad things are happening there since 2019. It’s a beautiful destroyed city one can only be passionate about. I love its old buildings, windows, people, sea. I love to find and show beauty in ugliness. It gives hope… During the pandemic, and different lockdowns (currently in a lockdown at time of interview) streets become empty and the sky, the shadows, the colours are so pure. I just miss people… TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CH: Henri Cartier-Bresson, "un classique” who was able to take great pictures with his 50 mm lens and no photoshop (which I never use). I like also Bruce Gilden, Robert Frank, Vivian Maier, Joseph Koudelka, Martin Parr, Seydou Keïta (even if his pictures are mostly in a studio). 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? CH: When I go out, all my senses are wide open (like a cat!) and just waiting and hoping for the encounter. In the back of my mind, I am always looking for places, people, a mood and a story. “Keep walking” is a motto I often bring back to help me cope with what we Lebanese are going through for so long and especially these last two years. 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? CH: I use a Leica D-Lux, a Fujifilm W-T1 and a Sony. Some are good because, also, they are light and easy to handle. Some are too complicated for street photography where you don’t have time to adjust. I prefer wide angles or a 50mm lens. TPL: Have you ever been involved in the creative world before photography? CH: At school, in Paris, I made a short movie with friends (Super 8). A friend, Stephane Drouot, was playing the role of 'director'. He became famous a few years later and got a Cesar for a short movie he wrote and directed late 80’s. He unfortunately passed away… TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? CH: My goals are to sharpen my eye and emotions even more, to always improve myself and always be surprised by what I do and what I see. I need, now more than ever, to always seek for beauty during these hard times the world and we Lebanese are going through. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CH: After my first book 'Le Chariot de Farah', a fiction with pictures of the Corniche, issued on October 2018 with an exhibition in Beirut, I am planning to do something more with it, as a series or a movie (with of course the help of professionals in this industry). And then start another personal project where I can mix writing and photography. Let’s hope we will have better days in Lebanon to be able to do so… TPL: When I am not out photographing, I (like to)… CH: Write. Travel. The beauty of Beirut's Corniche is undeniable, and Carla Henoud has done an amazing job of capturing this magic with her photography. Her photos capture the beautiful scenes of the Corniche, full of life, and the emotion she has captured in her photographs is undeniable. To learn more about Carla's journey, and to experience the beauty of Beirut's Corniche for yourself, follow her journey. VIEW CARLA'S PORTFOLIO Carla's instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

CLOSE ENCOUNTERS For David Shortland, street photography is a fun and accessible form of expression, becoming a form of therapy for him. CLOSE ENCOUNTERS October 29, 2021 INTERVIEW PHOTOGRAPHY David Shortland INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the streets of London, David Shortland has used his passion for street photography to break down the walls of anxiety that had kept him from being his most creative self. Originally from Ireland, but now based in London, Shortland found solace in the art of street photography, using it as a form of therapy to combat his anxiety issues. Drawing inspiration from some of the greats like Saul Leiter and Ernst Haas, as well as some incredible contemporary photographers that he has connected with through social media, Shortland has carved out a niche for himself in the street photography community. His story is one of transformation, of how creativity and passion can help one overcome personal obstacles and truly shine. “Street photography is such a fun and accessible form of expression. I love to shoot on slightly longer lenses and use elements of abstraction, texture and vibrant colour, and I would encourage everyone to give it a go.” IN CONVERSATION WITH DAVID SHORTLAND THE PICTORIAL LIST: David please tell us about yourself. DAVID SHORTLAND: I was born in the eighties in Northern Ireland, which was a bit of a strange and intense time and place to live! My career path has been a bit all over the place - I worked in film and TV production for a while, then graphic design, then moved to London to study human rights and ended up in the non-profit sector. So I have been living in London since 2010, and love it here despite the out of control rent prices. It is a great city for street photography. I am definitely spoilt for choice. TPL: How did you become interested in photography? What does photography mean to you? Describe your style. Where do you find your inspiration? DS: I was always broadly interested in photography and cinematography, and also in graphic design and visual arts in general. But I didn't decide to properly start learning and practicing photography until the end of 2020. It seemed like a fun lockdown hobby at the time, but it has since become a bit of an obsession. It is all about street photography for me, and I think my style tends to include some elements of abstraction or unusual composition. I am inspired by so many incredible street photographers, particularly some of the masters like Saul Leiter. Bur day to day, I find my inspiration by just walking around and seeing what is out there. TPL: What is it that you love about street photography? DS: It is about the experience of finding opportunities on the street as much as it is about the images. I love the whole experience - I find it really therapeutic, a strange mixture of relaxation and exhilaration. As someone who struggles with some anxiety issues, street photography has had a huge impact on me. I always feel great after a photo walk, and overcoming the fear of photographing people has really helped me become more confident and remove some barriers to creativity. I don't think I would get the same satisfaction from more controlled types of photography. TPL: What are some tips or advice you would give yourself if you started photography all over again? DS: It's easy to say in hindsight but I'd tell myself to dive right in and face my fears when it comes to photographing strangers. It took me a long time to overcome the fear that people would react badly. Looking back, I realise I just needed to build up enough evidence through practice that it's really unlikely to happen. I could count on one hand the number of times people have even said anything to me, never mind actually objecting or asking me to delete an image. More often than not I get a smile or a wave, and I've met some really nice people this way. The other tip I'd give myself is to get out practicing sooner and more often. I think I tried to learn too much theory early on, and once I hit the streets I realised it all goes out the window until you've built up a bit of experience and confidence with using your camera. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DS: The work of Saul Leiter has had a massive influence on me and has definitely shaped the way I approach photography, even if the images themselves turn out quite different. I love diving into the work of some of the masters: Ernst Haas, Vivian Maier, Robert Frank - even some of the incredible documentary photographers like Gordon Parks. And I've met so many incredibly talented photographers through social media - it's really inspiring to see so much beautiful work being produced by them. I always feel great after a photo walk, and overcoming the fear of photographing people has really helped me become more confident and remove some barriers to creativity. TPL: When you are out photographing - how much of it is instinctual versus planned? DS: I barely plan at all. The only thing I plan is the general area I'm heading to to start my walks (though sometimes I just jump on the tube and pick a station to get off). I'm never quite sure what I'm looking for and it always takes a little while to warm up. I still start out every time worried that I won't find anything to shoot. But I've learned it's just part of the process for me, and the instinctive eye always kicks in eventually. When I find a scene or opportunity, I like to spend time really exploring it and seeing what I can make out of it. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? DS: I started out in the new year with a Fujifilm X-T200, which is an entry-level mirrorless camera. It served me really well but I fell in love with the X-T3 after hiring it a couple of times, so I recently upgraded. Most of the time these days I'm using a Viltrox 56m f1.4 (85mm equivalent), and I love that focal length - it's got such beautiful compression and it's perfect for picking out details. I also use a Fuji 35mm f2 (roughly 50mm equivalent) quite often. I've recently been feeling really inspired by some great wider-angle photography, so I've just ordered a used Fuji 18-55mm zoom lens to try shooting at 28mm-35mm equivalent range. I find the X-T3 really reliable and just a ton of fun to use, which helps me keep wanting to pick it up and go out to shoot. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? DS: It's all about street photography for me, and it's notoriously difficult to make a living off that. In a way I'm just very happy to keep it a hobby. I'm not a huge fan of the idea that hobbies should always be monetised where possible - I like that photography is a bit of an escape from the day-to-day, and I'd like to keep it special in that way. So who knows really - I guess I'd like to have improved in five years. Maybe one day it'd be cool to be exhibited somewhere but we will see! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DS: I've started planning my first short-run publication. I'm not sure of the format just yet but currently I'm thinking a zine, maybe around 40 pages or so. I'd like it to be a presentation of my favourite shots over this first year of street photography, so it's still a few months away. But I've begun the stage of arranging tons of little prints all over the place and trying to come up with a sequence, which my partner's delighted about of course! TPL: When I am not out photographing, I (like to)… DS: Read about culture and politics (I'm a big leftie nerd), play guitar badly, watch too many films, and eat too much veggie/vegan junk food. From the streets of London, David Shortland has used his passion for street photography to reclaim his creative voice and break down the walls of anxiety that kept him from being his most authentic self. His journey of self-discovery and healing was made possible by the inspiration and motivation of some of the greatest street photographers, both past and present. David's story serves as an inspiring reminder to us all that with passion and creativity, it is possible to overcome even the toughest obstacles. To see more of David's photography please use the links below. VIEW DAVID'S PORTFOLIO Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

ARTISTIC SPIRIT Ovidiu Selaru pays homage to his father's artistic spirit through his beautiful and emotive photography. ARTISTIC SPIRIT July 13, 2020 INTERVIEW PHOTOGRAPHY Ovidiu Selaru INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link 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 >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

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. LA EDITION October 4, 2024 INTERVIEW PHOTOGRAPHY John Kayacan INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link John Kayacan discovered photography at fourteen when he picked up his parents’ camera and began capturing anything that caught his eye. This early interest soon turned into an obsession, shaped significantly by his discovery of Robert Frank’s seminal book, The Americans. This transformative experience shifted his perception of the world, turning every scene into a potential photograph and sparking a passion for documenting the streets around him. Immersing himself in the vibrant energy of Los Angeles, John found endless inspiration in the city’s sidewalks, stoops, and subway cars, developing a distinctive style with cinematic colors and soft frame vignettes. His dedication to capturing the beauty of everyday Angelenos, led him to art school and a career as a visual storyteller, creating a portfolio of work that reflects his unique perspective on urban life to provoke thought about what lies outside the frame. John reflects on eight years of photographic exploration, acknowledging the slow, deliberate process that street photography demands. His work shows his patience and keen eye for detail, qualities that have helped him build a compelling body of work over the years. As he continues his art, John remains grateful for the chance to pursue his passion and share his visual stories. In our interview with John, we explore his early influences, his artistic evolution, and his ongoing work as a photographer living in one of the most interesting cities in the world. Join us as we explore the mind and work of John Kayacan, a dedicated artist who captures the essence of urban life. “My work has a very extensive focus on street photography, and I believe it aligns well with the concept of bridging documentary with fine art. This interview features an array of images that spans across 8 years of my work.” IN CONVERSATION WITH JOHN KAYACAN THE PICTORIAL LIST: Welcome to The Pictorial List, John! Can you tell us how growing up and living in Los Angeles has shaped your view of the world and your artistic vision? How did your time at art school contribute to your development as a photographer? JOHN: Thank you for having me! Growing up in LA, I was always inspired by the city streets and the scenes of everyday life. When I first started street photography, I wanted to capture moments that seem spontaneous and unposed, highlighting a variety of human experiences; from people at work, in transit, or simply existing in their environments. I learned a lot at art school, the biggest lesson was that patience is the key to quality. I started my first long term project during my second year of college, and it taught me the importance of quality over quantity. Surround yourself with what you love so that feeling of inspiration will never leave you. TPL: Tell us what it was about that moment you read Robert Frank's book The Americans, and what was it about his photography that influenced your perspective on your photography and life? JOHN: When I first read that book, my entire perspective of the world changed. Everywhere I went I saw a potential photograph to be made. The simplicity yet sophistication of Robert Frank’s photography made me realize I wanted to do this for the rest of my life. TPL: We all face challenges and obstacles we could not have foreseen, what are some of yours, and how did you overcome them? What advice would you share? JOHN: My biggest piece of advice would be to be consistent and start off slow. Learn about what type of photography you enjoy doing and what sparks that desire to capture. TPL: Who or what are some of your other major influences on your photography today? JOHN: My biggest influences today would be Greg Gerard, Vivian Maier, and Richard Sandler. Watching movies as well, I do tend to use wide angle lenses when doing street photography, which helps to keep that “cinematic” aspect. TPL: What aspects of urban life do you find most compelling to capture in your work? How has your style evolved over the years, and what has driven that evolution? JOHN: Hmm, I’d say the moments of everyday life in different settings, from street vendors and late-night diners to intimate family interactions and bustling markets. I try to use soft focus, moody lighting, and muted colors to give the images a nostalgic, almost dream aesthetic, the quiet beauty and diverse experiences within the everyday. TPL: What are some of the key themes or messages you aim to convey through your photography? What do you want the viewer to experience from your work, what is their takeaway from their visual experience? JOHN: My approach to street photography is heavily influenced by my desire to connect with my subjects and the environment, often working instinctively to capture fleeting moments. Try to observe and understand your subjects. It will allow you to catch photos that are both authentic and evocative. Photography has become therapeutic; it seems the older I get. TPL: How do you balance your professional work with your personal projects? How do you make the time to go photographing? JOHN: Photography has become therapeutic; it seems the older I get. Makes me clear my mind and truly focus on what’s literally in front of me. So, making time for that is always a necessity. TPL: What are some of your favorite places to photograph in Los Angeles, and why? Outside of home, where is your next favorite? And what city is next on your Wishlist? JOHN: Hollywood boulevard would definitely be my favorite, unpredictable and always captivating. Feels like a whole new place every time I’m there. My favorite place to photograph outside of LA would definitely be anywhere in Mexico. I don’t quite know what’s next though, maybe somewhere still in California. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? JOHN: Probably. No, I’m joking, some of my favorite images of my own were caught while I simply had a camera in hand, no expectations ha-ha. 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? Do you have anything on your Wishlist? JOHN: My first camera was a Nikon d3100, I started at 15 with no actual understanding of how the camera's quality would affect the image, that came a little later. The cameras I use now are a Ricoh GRiii and a Canon EOS R. My preferred focal length would be either 35mm or 28mm. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? JOHN: I’m in the early stages of my first documentary project hopefully get to start photographing for that soon, My biggest goal in photography is to inspire. TPL: When you're not creating your visual stories, what else will we find John Kayacan doing in his spare time? JOHN: Spending time with family. John Kayacan's work is anchored in a genuine love for the streets that raised him. His journey from a young teenager exploring photography with a simple camera to a dedicated visual storyteller reflects a commitment to capturing the everyday moments that often go unnoticed. With influences ranging from iconic photographers to the cinematic language of film, John’s work offers viewers a thoughtful reflection on the quiet yet vibrant aspects of urban life. In John’s photography, Los Angeles becomes more than a backdrop; it is an ever-evolving character that shapes his artistic expression. As he moves forward in his career, balancing personal projects with his growing portfolio, John continues to approach his art with patience and intent. Whether documenting the lives of Angelenos or embarking on new projects, he remains focused on creating work that not only captures reality but also sparks thought and connection. John’s story reminds us that photography is not just about the images we see but also about the unseen world behind the lens — the careful observation, the choices, and the stories waiting to be told. VIEW JOHN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

LANDSCAPES OF SOUTH AUSTRALIA South Australian photographer Alex Frayne's new book is a comprehensive photographic homage to his big and beautiful backyard. LANDSCAPES OF SOUTH AUSTRALIA December 7, 2020 INTERVIEW PHOTOGRAPHY Alex Frayne INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link With a 8mm camera in hand, Alex Frayne has been capturing the beauty and resilience of South Australia's landscapes for over 20 years. He has documented his travels through short films, a feature film and still photography, earning much acclaim for his Adelaide Noir and Theatre of Life series and books. Now, Alex is embarking on a new journey to document the timeless and daunting beauty of his home state in his upcoming book, 'Landscapes of South Australia'. Through his honest and artistic approach, Frayne hopes to capture the rugged beauty and strength of the landscapes, as well as the marginal farming opportunities and a kind of rusted beauty that speaks of resilience and the triumph of human spirit. In this interview for The Pictorial List, Alex takes us on a journey to explore South Australia's vast and stunning terrain, giving us an insight into what it can mean to capture such beauty through his powerful images and narrative. “The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic.” IN CONVERSATION WITH ALEX FRAYNE THE PICTORIAL LIST: Alex, please tell us about yourself. How did you become interested in photography? ALEX FRAYNE: I think from the age of ten, I have had cameras around me. My mother bought me an 8mm movie camera in the early 90's and from there I moved into 35mm while studying filmmaking at Flinders University. Indeed my pedigree in film-making looms large in my photographic work, despite photography being my primary 'form'. Though born in the United Kingdom, (my Australian parents were studying there in the 70's) I have lived the majority of my life in South Australia and currently reside there. TPL: Tell us more about your project LANDSCAPES OF SOUTH AUSTRALIA. What was your motivation to make it a book? AF: The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic. To achieve that, I needed to suffuse the work in honesty and integrity. It meant that I needed to eschew all the notions and stereotypes that existed about landscape photography and South Australia. I needed to create a 'tabula rasa' so that the work could not be linked to pre-conceived notions of South Australia, or movies, or tourism or tropes that float about in my visual memory. This process of "erasure" is key to starting a new project, I feel. The new book LANDSCAPES OF SOUTH AUSTRALIA is a large, hardcover 216 page art tome which will be in shops for Christmas. I've been working on it this year with the designer Nick Phillips. Wakefield Press are publishing it, they've been very patient and loyal across this and my previous two books, 'Adelaide Noir' and 'Theatre of Life'. Michael Bollen is the boss at Wakefield Press, he works tirelessly at the helm. TPL: Your photographs tell a story and they have this special quality of light and richness of colour...all the quality of cinematography. Is storytelling actually a big part of your photography? AF: Yes colour and light and composition. These are the tools I use. Composition, specifically comes from my cinema heritage, as in the French phrase "mise-en-scene" which means "the arrangement within the frame" or the spatial geometry that exists within a frame. In terms of storytelling, yes, there is an element of that in photography, but I think it's not front-of-mind for me when shooting. For me, more important are notions of mood, tone, dreams, sadness, joy and revelation. People may ascribe a story to a photo, but that's their business. It will inevitably be different to my notion of the story. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? AF: I love to photograph ghost towns or rust-belt places. I think Woomera and Tarcoola top the list here, because of the decay that is imbedded in the beautiful and remote areas where they are located. The juxtaposition of these 20th Century places set against the wilderness that eventually saw their demise is fascinating, photographically speaking. These places were all part of various "industries." Woomera was once a Space-Race outpost with cutting-edge technology and a rocket range. It was the place for the Anglo Australian cold-war rocket testing site. Tarcoola was a gold-rush town on the Trans-Continental Railway Line. Tarcoola is actually a proper ghost town - nobody lives there, as in NOBODY. It's difficult to reach, but rewarding, photographically because you are seeing how things are, how things were, and you're enveloped by an outback landscape that has existed forever. To the south, you're in the Gawler Ranges, on Barngala land, inhabited for 60,000 years, with trees like this one, standing there against time and space. TPL: Describe your style? Do you mainly focus on landscapes although I love your series "The Overseers of Street" where you shoot street portraiture. As a photographer sometimes you can get pigeonholed into a certain genre...what are your thoughts on this. What are some elements you always try to include in your photographs? AF: I think my style is free-flowing and improvised, a bit like jazz...It's unrestrained and unencumbered and low-tech. I shoot only analogue formats, my camera gear is probably worth less than 2 grand...but of course there are expenses in film stock and processing (but I develop my own black and whites.) I shoot 120 film and 35mm. So I create my own 'music' through my art, I really don't think too hard about genres and such...if my heart desires to shoot a street portrait series, I'll go and do it. My second book was a portrait book, 'Theatre of Life'. What I don't do is ask permission from anybody to do what I do. I don't sit around wondering what friends and colleagues or powers-that-be might think. That's not jazz, that's art by committee. Elements I include in my work are whatever elements are required to yield an emotional response; and that response is more important that format, sharpness, camera brand or film emulsion. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AF: My favourite artists are the ones you've probably never heard of. The grass roots artists. The community artists, the rural artists, the art teachers in public schools, the amateurs and the older artists who've had to work in a factory their whole life and who have kept doing their hobby art. These people often they write to me asking if they can paint an image of mine to improve their technique. As far as major artists of influence I'd include Steinbeck, Miles Davis, the guitarist Allan Holdsworth and the noir-fiction writer James Ellroy. Frayne's eerily still urban landscapes have been likened in their classical framing and pervasive sense of strangeness in the familiar, to the work of Stanley Kubrick and Jeffrey Smart. - Simon Caterson, The Australian TPL: Do you have a favourite quote or saying that especially resonates with you? AF: Being a jazz nut I can't help but quote the great Miles Davis, who once wrote: "The real music is the silence and all the notes are only framing this silence." I think this applies to photography. It relates to using space, negative space and keeping the frame uncluttered. TPL: What motivates you to take photographs? Do you ever have any struggles in photography? AF: It's the same struggle that confronts most artists and that is the struggle of perpetually having to create new work that gives voice to the ideas that are always percolating away underneath the surface. The motivator can be variety of things. It can be artistic, commercial or in the best case, both. The motivator can also be boredom. If that is the case, taking photos is a sure-fire remedy. TPL: Describe what you love or hate about the camera you use? Does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AF: I only shoot film, though have used digital for some night work. I shoot with three cameras: a Yashica 6x6 124g medium format camera; a 6x9 Fuji camera also in medium format; and I shoot a Nikon FE 35mm camera for everything else. I love all these cameras in different ways, they're all film cameras, and if handled properly yield images that produce sparkling, element images that digital can never reach. Film has an emotional undercurrent in the image, it just looks better to me. For monochrome I usually shoot Kodak Tri-x, and I develop at home in a HC110 developer. My favorite lens is the 4 element Tessar 80mm lens in my Yashica. Film can also have challenges. In a story that I've told many times, I once took my rangefinder Fuji 6x9 camera up to the Riverland. I shot what I considered to be my some of my best work. Unfortunately, I'd forgotten to take the lens cap off - a mistake that can easily happen with rangefinder systems. A day later the lab called to tell me the developed slide film had "no density." That's a mistake you only make once. TPL: Have you ever been involved in the artistic world before photography? AF: Yes I've been around art since forever. I had great teachers all through school and Uni, and I am surrounded by great people in Adelaide in all the allied arts. Adelaide is the arts capital of Australia - my old Latin teacher would say..."quod erat demonstrandum," Adelaide is the Athens of the South. TPL: What are some of your goals as an artist? Are there any special future projects that you would like to let everyone know about? Where do you see yourself or hope to see yourself in five years? AF: I think a goal is to continue being curious about the world! Without that, there is no anchor. I'd like to continue collaborating with other artists as I do from time to time and to continue working on my aesthetics. I think the notion of aesthetics is really wound up in how you view the world, which is really about how you understand your own place in the universe. This could take five years or fifty! Apart from the immediate project and book LANDSCAPES OF SOUTH AUSTRALIA, I am also working on a project with theatre director Catherine Fitzgerald, it's called called DRY, and it recently received major Commission Funding. It's a play, and features some of my images as projections. It's slated to tour in October 2021...definitely worth a look, Catherine's a top notch director. TPL: "When I am not out photographing, I (like to)… AF: I'm usually on a sand-belt golf course somewhere! I play golf off a handicap of 8...and if you think photography is a tough caper, try playing golf...it's an impossible sport." In Alex's new book, he has shown us a side of Australia that is often overlooked and forgotten. His photos take us on an intimate journey through the beauty and honesty of the South Australian landscape. His photography speaks of resilience and the triumph of the human spirit. We are inspired by his work and encouraged to reflect on the beauty of his home state and the importance of preserving it for future generations. To join in the celebration of this work, we invite you to buy his book or tour Alex's website and Instagram and see the beautiful honesty of Australia for yourself. VIEW ALEX'S PORTFOLIO Buy LANDSCAPES OF SOUTH AUSTRALIA Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

SOCIOLOGY OF EVERYDAY LIFE Capturing the sociology of everyday life, searching for human faces and emotion, brings Neslihan Uslu closer to photojournalism. SOCIOLOGY OF EVERYDAY LIFE March 11, 2021 INTERVIEW PHOTOGRAPHY Neslihan Uslu INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Photography has the ability to capture and communicate stories in a way that no other medium can. For Neslihan Uslu, a Turkish-born photographer living in Antwerp, Belgium, photography is a way of life. Combining her studies in sociology and photography, her artistic practice is about uncovering the everyday stories of our lives. To her, the nuances of everyday life are the most powerful and beautiful stories that can be told. Neslihan's passion for documentary photography began three years ago when she moved to Antwerp. In her desire to learn more about this new city, she saw photography as the best way to do this. Every week she would focus on a different topic, seeking out the hidden stories that were hidden away in the streets of Antwerp. Her images are a reflection of her passion for looking at both the ordinary and extraordinary through a photographer’s eye. She looks for emotional moments and captures them in an honest and cinematic style, creating a visual dialogue of the beauty of everyday life. Neslihan Uslu's work is a powerful blend of fine art and photojournalism. It is a tribute to her dedication to capturing the subtle stories of our lives and the emotion that lies within them. Her work gives us a glimpse into hidden moments that many of us would never have the opportunity to witness. Through her lens, we can experience the intimate beauty of the everyday and appreciate the unique stories of our lives. “In my opinion, sociology is bold, but photography is even bolder. What I want to express with my photos is to convey events, social problems, situations, sometimes everyday life and routines as much as possible, to show real lives and feelings. I also want to do this by keeping the story plain and simple, without trying to transform or reproduce reality. Photography is already reproducing its reality through the eye of the photographer.” IN CONVERSATION WITH NESLIHAN USLU THE PICTORIAL LIST: Neslihan please tell us about yourself. How did you become interested in photography? NESLIHAN USLU: I was born and raised in Istanbul. I have been living in Antwerp for about 3 years. I've been the photographer of the family since I was young. But it was more about taking snapshots and recording everything. I started photography training in AFSAD (Ankara Photography Artists Association) the year I decided to study Sociology at the university in 2000. I feel like I’m still at home while developing photos in the dark room. During my 4-year university education, photography training and projects continued simultaneously. During this period, I also had the opportunity to participate in group exhibitions. My focus on documentary photography was continued with my thesis. This was the breaking point for me. While I was writing my thesis on "Othering and Labeling in Modern Era: Romani people living in Turkey”, I met many people, took many pictures and I had the opportunity to learn a lot about photography. That's why Josef Koudelka's Gypsies project is always very special to me. TPL: Tell us more about the series of images from Chinatown that you have shared with us. Could you elaborate a bit on your thoughts on the concept and how you manifested your ideas into a documentary project? NU: Actually, this short study is one of the first steps of my work on the “cultural importance of festivals and their perception in different cultures” that I want to do in the long run. Festivals are an impressive way to celebrate culture and traditions. At the same time, we come together with our loved ones and share happiness. It is important for cultural solidarity. In addition to this, it can evoke different emotions in different cultures. What I wanted to show was the difference and similarity of the emotions it aroused in people from different cultures through the Chinese New Year celebration. To put it better, it was the cultural perception of this celebration. Before the celebrations, I went to Chinatown many times and observed. That gave me the information about the photos I will be taking: where I should stand, from what point of view I will see. I don’t think I can easily tell a story that I don’t have an idea about, whether it is a documentary or a photojournalism. TPL: Sometimes you combine your Sociology into your Photography. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? NU: In my opinion, sociology is bold, but photography is even bolder. What I want to express with my photos is to convey events, social problems, situations, sometimes everyday life and routines as much as possible, to show real lives and feelings. I also want to do this by keeping the story plain and simple, without trying to transform or reproduce reality. Photography is already reproducing its reality through the eye of the photographer. When I think of myself as a viewer, the photographs that awaken a feeling in me, make me ask myself questions and think critically feed me. I want them to inspire similar feelings in those who look at my photos as well. I believe that the more we present to the world, the greater steps we take for change and development. That's why Lewis Wickes Hine, the photographer and sociologist who documents child labor, is one of my idols. Hine's images of working children helped change the nation's labor laws. Through his photography, Lewis Hine made a difference in the lives of American workers and, most importantly, American children. I'm trying to include the connection between the sense of place and people in my photographs. I think this allows me to tell my photo stories more powerfully. TPL: Where do you find your inspiration to photograph? NU: I find my inspiration in history. Everything that has witnessed history means a lot to me. Maybe that's why I love to chat with old people and listen to them, to go around antique markets and second-hand bookstores. TPL: Do you have a favourite place to photograph? NU: Everywhere that I can find documentary photos and stories. To be honest, I think the events and the connections you establish make the difference, not places. Nevertheless, the historical streets in İstanbul that start from Istiklal Street and end in Galata Tower are always a journey to my heart and my childhood. I also like to go to the old passages and shoot in low light conditions there. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NU: There are many photographers and artists. Master photographers always inspire me, teach me to see and narrate. Dorothea Lange, Vivian Maier, Bieke Depoorter, Semiha Es, Ansel Adams, Sebastião Salgado, Alec Soth, Ara Güler, İzzet Keribar, Martin Parr, Josef Koudelka, Emin Özmen, Alex Webb…Their works play a big role in making me who I am. Cinema and my favorite directors also make me look at photography differently. I learn how to use tones, whether in monochrome or in color, and how to take dramatic photographs through cinema. I think it is necessary to keep the intense and fertile relationship between cinema and photography in order to do a good job in photography. Jean-Luc Godard expressed "Photography is truth. And cinema is truth 24 frames a second." I absolutely agree with this. At the same time, the magical world of cinema contributes to my imagination in every way. Vittorio De Sica, Lars Von Trier, Ken Loach, Nuri Bilge Ceylan have a special place in my heart. And all of my photographer friends who live in different places of the world. We also have a photography group called Antwerp Photo Collective in Antwerp and I am inspired by all of them. I find it historically and sociologically important to convey culture from generation to generation. Being able to explain a cultural structure that I know makes me feel both excited and responsible. We're losing so many memories and I want to keep them alive. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? NU: In an interview, Ken Loach says, “You have to find a story you have to tell. It should be a story that you must tell, not a story which might have been a good one when you tell.” I'm trying to do this with my camera. It takes me into photography, pushes me to research and learn. 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? NU: I currently have equipment that I love very much. I use Fujifilm X-T3. I want to have a medium format camera in the long run. I take most of my photos with 35mm f/1.4 lens and 50mm f/1.8 lens. However, sometimes I need different equipment and lenses, depending on the style of the photo I want to shoot. 35mm prime lens is always my favorite. It is a wide angle lens and it helps me have a more accurate perspective. It's enough to capture powerful images. I also have zoom lenses but I rarely use them. I like my camera being small and quiet but I always have to carry a spare battery. I do my analog shots with Nikon F80 and Leica Z2X, even though less often. I'm a fan of cinestill film. 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? NU: I often let the images come to me when I go out shooting. Maybe I will encounter something new that I do not know or I will see something I am familiar with, from a different perspective. I keep a sort of photo diary. Sometimes I just give myself homework about a specific theme. I am trying to create a photo series about the theme. For example, from the people who are reading at the café to the street lamps, from the women dressed in green to the bins, from the joy of victory to the someone who seems unhappy, there can be a variety of subjects and emotions. Also, even when I have a concept in my mind and shoot about that, the results I see are different from what I plan. Sometimes this makes me happier, sometimes it causes me to throw everything away and rework the same concept. It helps me to realize long and extensive projects. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? NU: I want to reach more people with my photos. I'm building my website (www.neslihanuslu.com ) and it will be accessible in February. I would like to publish my project that I am working on and dedicate it to my parents. I would like to present my 2nd draft project to a publishing house in Belgium and work on it in collaboration. I have a long way to go, and I love this feeling. Some things will change along the way and this will influence my approach to photography. TPL: You mentioned that you are currently working on a documentary project 'Crimean Tatar Villages.' Could you tell us about it. NU: I find it historically and sociologically important to convey culture from generation to generation. Being able to explain a cultural structure that I know makes me feel both excited and responsible. We're losing so many memories and I want to keep them alive. I am a Crimean Tatar from my father's side. My grandfather settled by migration to Turkey after a difficult period. My father was born and grew up in Eskipolatlı, a typical Tatar village in Ankara. Crimean Tatar is spoken among themselves. This group has a unique culture and lifestyle. This is what I was born in. I listened to the stories and witnessed this culture. I will especially focus on the food culture and domestic life. I will do photo shoots and interviews in Eskipolatlı village in order to maintain the cultural heritage and introduce this culture to future generations. Due to Covid-19, I couldn’t travel to Turkey and I couldn’t make the shots that I had planned last spring. For the moment I continue to do interviews. If everything goes well, I aim to complete my project within a year. Unfortunately, while I was writing my thesis, I could not reach the references that I wanted and I think I know the difficulty and the meaning of this. For this reason, I want it to be a small contribution for those who are interested in the subject. TPL: When I am not out photographing, I (like to)… NU: Watch movies, spend time with my family and friends, cycle, do handicrafts and travel. Neslihan Uslu's photography is a powerful medium for capturing and communicating the stories of our lives that often go unnoticed. Her commitment to uncovering the hidden and unique moments of everyday life is an inspiring reminder of the beauty that lies within us. We can all learn something from Neslihan's dedication to photography and her passion for telling the stories of our lives. VIEW NESLIHAN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

LITTLE DRAMAS Robert Bonk captures everyday activities, which when viewed together, portrays little dramas, weaving a visual tapestry of Italian life. LITTLE DRAMAS March 16, 2022 INTERVIEW PHOTOGRAPHY Robert Bonk INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the wild and poetic landscape of Jacksonville, Florida, Robert Bonk's lifelong journey has been one of change and exploration. After graduating with a Bachelor of Fine Arts in Painting, Robert moved to New York City to pursue his dreams of becoming an artist. He then relocated to Los Angeles where his career shifted to working as a location scout for the film industry before recently retiring. Now, having spent time between the United States and Italy with his wife, Robert Bonk has created a stunning series of photographs that artfully capture everyday life in Italy. His series 'Little Dramas Italy' is edited from his larger and ongoing project that he has been developing from three trips to the region between 2018 and 2021. This unique collection of images displays the beautiful culture of Italy with all its little dramas, offering a visual tapestry of everyday life. “It is this dichotomy between the archaic and the present day, finding ‘little dramas’ which informs the human condition I find compelling. As The Talking Heads song, Once in A Lifetime, goes: Same as it ever was, same as it ever was.” IN CONVERSATION WITH ROBERT BONK THE PICTORIAL LIST: Robert please tell us about yourself. ROBERT BONK: I grew up in a ranch house on a lake in a wooded subdivision outside Jacksonville, Florida. The lake teemed with alligators and water moccasins. When my friends and I would take a rowboat out on the lake the alligators would swim up to the boat and we would whack them over the heads with the oars. Occasionally, every other month or so, neighborhood dogs would go missing. At night they’d venture too close to the alligators which would sleep on the yards at the lake’s edge. The gators would outrun them, pull them into the water. Occasionally, we would find rattlesnakes curled inside the wood pile; coral snakes running along the footpaths in the woods behind the house. Many of our neighbors displayed trophies of marlin, swordfish and bluefish on their walls. It was a wild, visceral and poetic place, which laid the desire to explore other parts of the globe and its people. I live outside of Los Angeles in a town in the foothills of the San Gabriel Mountains. Since the early 90’s I worked as a location scout finding filming locations for the film industry. I am now retired. My wife and I have plans to split our time, residing between the States and Italy. TPL: What draws you to photography and art? How did your journey into photography begin? RB: I have always been drawn to photography and art. When I was a young boy my dad had an old Argus camera. I loved the look of it, the feel of it in my hands. We’d go out and take photos. After a while, we decided to build a darkroom in the small bathroom in our basement. The alchemy of it all seemed so magical to me. My first love was painting, though. I lived in New York City during the 80’s pursuing my art. In 1983, I bought a camera and traveled solo throughout India and Nepal for two months. I saw many amazing sights. After returning, I processed the film, finding more than several images I thought compelling. Since my adventures to India, I have always had a camera nearby. TPL: What is the full story behind your project 'Little Dramas - Italy'? What was the inspiration and when did it begin? RB: In 2018, I accompanied my wife on a business trip to Sicily. My personal highlights were of the fishermen at the Duomo fish market and The Palazzo Biscari in Catania, the Ear of Dionysus limestone cave of Siracusa, the vistas of Taormina. I was drawn to the combination of the Sicilian’s rawness and yet cosmopolitan elegance nature, and the impression of this is how they have lived for centuries; provoking a strong a feeling of some sort of a continuum. And, it is this dichotomy between the archaic and the present day, finding ‘little dramas’ which informs the human condition I find compelling. As The Talking Heads song, Once in A Lifetime, goes, “Same as it ever was, same as it ever was.” And, of course, the same applies to the rest of Italy. In 2020, we returned to Italy, visiting Milan and Puglia, and then again in 2021, visiting other regions throughout northern and southern Italy. TPL: Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects? RB: Human nature and the human condition are universal. My street photography is something always ongoing especially when traveling. I would like to explore Europe more extensively, as well as travel to Morocco, Egypt and Japan. TPL: Who are your favourite artists and photographers? RB: Da Vinci, Picasso, Georg Baselitz, Sigmar Polke, Per Kirkeby, Peter Doig, Walter Swennen, Chris Killip, Sebastiao Salgado, Henri Cartier-Bresson, Taryn Simon, Minor White, Manuel Alvarez Bravo, William Eggleston, Irving Penn, Ruth Orkin, Daido Moriyama, Shomei Tomatsu, Albarran Cabrera just to name a few. Human nature and the human condition are universal. My street photography is something always ongoing especially when traveling. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? RB: If I was able to go back in time: Shomei Tomatsu. To see how he approaches his subjects and how he prints would be a real education. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? How much post-processing do you do? RB: Yes, I’m satisfied with my equipment. I use a Sony A7r111 with a Zeiss Sonnar FE 1.8/55mm ZA and a Sony FE 1.8/35mm. Hardly no post-processing save working on the files to get the desired contrast and exposure correct. TPL: Is there any advice that you would give yourself if you started photography all over again? RB: Buy a better camera. A Chinon takes you only so far. TPL: When I am not out photographing, I (like to)… RB: To paint. Robert Bonk's beautiful collection of images is a testament to the power of art to capture life's little dramas and evoke emotion in its viewers. Robert has taken us on a visual journey full of exploration and discovery. We encourage everyone to explore Robert Bonk's work and see the world through his eyes. VIEW ROBERT'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

STORIES IN GARBAGE Jens F. Kruse visually condenses ordinary scenes and objects into a fragmented view changing the context and narrating a new story. STORIES IN GARBAGE March 30, 2022 INTERVIEW PHOTOGRAPHY Jens F. Kruse INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Travelling from Germany to Mallorca in 1999, Jens F. Kruse has been creating a unique artistic landscape of the Spanish island ever since. As a Michelin star chef and award-winning photographer, Jens has crafted a career in both culinary and visual arts. With his roots in analogue photography from the eighties, and later delving into digital landscape photography and street photography, Jens has developed a blog dedicated to his photographic journey in Mallorca. But what sets him apart is his photographic series STORIES IN GARBAGE, a creative take on how one interprets and portrays everyday garbage in an unusual and thought-provoking manner. Now, The Pictorial List has the pleasure of interviewing Jens to find out more about his life in Mallorca and his acclaimed photographic series. “The world is never boring, it is ever exciting, strange things can happen around the next corner, there is always something to capture...Everywhere, every time...I forget what I do...but I am fully aware of what is happening Past and Future exist in the here and now. there is nothing quite like this...Life is candid!” IN CONVERSATION WITH JENS F. KRUSE THE PICTORIAL LIST: Jens please tell us about yourself. JENS F. KRUSE: I was born in Germany in the 60s. In 1999 I immigrated with my family to Spain, where I have been living and working until now. My young heart has been beating for art and music and already at the age of 12, I had the dream of becoming a professional musician. But this was a bit naïve and I started an apprenticeship as a cook. After a short time it turned out that I was very talented and made a fast career (1 Michelin star). I still had not given up on my dream and went back to school to get my A-levels (1991)…Then I studied musicology (but that was too dry for me) and finally art/music! In art, my focus was on photography and land art (1992-1998). In all this time I gave many live concerts and released 4 cd albums, did a lot of art and conceptual photography. When we went to Spain (with two kids), I started cooking professionally again (the bills had to be paid). Since 2009 self-employed as a private chef! During this time I started to photograph my views out of the kitchen windows of my clients with a little Sony cyber shot camera (I loved it), so it was a conceptual work... and it turned into snapshots, moods and detail photographs. It turned into stories on social media and on my website. The final result was the publication of a combined cookbook and lifestyle book, together with my wife! Thinking about taking other food photos and also making the layout extraordinary, I borrowed a Nikon D5600 with a 35mm fixed focal length and started to take really focused photos again...I was already doing street photography without knowing it! Due to professional ban in 2020 with Covid-19, I sold my business and have been a professional street photographer since 2021. I give workshops and I am on the road as a storytelling photographer in a company called Corporate Street! TPL: You say that you studied music and art. How did you become interested in photography? JFK: I took photos before, but more as a location photographer on holiday or with the family. During my studies, I learned the analogue approach and development work completely, what you can do with negatives...(almost) everything we can do digitally today is also possible in analogue. These were rather conceptual, abstract and poetic photo works of mine. Furthermore, I have always been interested in the symbiosis between art and music...which is immeasurable. TPL: How have the streets and culture you capture influence your photography? JFK: Life as such, in all its facets, has always interested me. Through my music I have travelled many countries ( Africa, Brazil, Canada, USA, Europe), learning music there and taking photographs...I had no idea about street photography but I was always interested in the stories behind the motifs, but I was always careful not to have people in my pictures...more mood shots, landscape, lifestyle or poetic views . In 2018 in Stockholm (Sweden) this should change...!!! TPL: Talk to us about your series STORIES IN GARBAGE. Where did the inspiration come from to start the project? What do you want the viewer to experience and take away with them? JFK: I can still remember it very well: about 2 years ago I noticed that a magazine had been carelessly left on the street or thrown away several times. One copy was lying on top, with the cover page on the dustbin, the portrait of a man with closed eyes, looking calm and content. That motivated me...there was a story and that was the beginning of paying attention to stories in the rubbish. I like to put things in a different context, when pictures have a friction...raising questions. Normally we would hardly pay attention to many of the objects depicted in my photographs, as they seem insignificant and banal to us. But torn out of their purely functional context, visually condensed in fragmentary view, they acquire such a strong sensual presence that they can develop a great power of association for the viewer. We do not look at the things, the things look at us. TPL: Do you have any favourite artists and photographers? JFK: Not really! In art as well as in photography there are so many fantastic artists I like very much, whose works influence or inspire me. Not only in street photography, but also for example in documentary, reportage, art or fashion photography...I think of Annie Leibovitz, who I admire very much. By the way, the same applies to film and theatre for me! I like to put things in a different context, when pictures have a friction...raising questions. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? JFK: Since I became addicted to street photography, I naturally study all the great masters from the past and present...There are so many fantastic photographers on the road today. Since I am rarely the fisherman and feel more like a hunter on the street (that's where my adrenaline is), I will mention Matt Stuart as an example! I like his views and his photographic realisations and since I read his book "Think like a Street Photographer", I know that he thinks and sees like I do...I could have written that book...but I didn't (hahahaha...). TPL: When you are out photographing - how much of it is instinctual versus planned? JFK: I'm on the street every day! The camera is ALWAYS with me, even when I'm taking out the rubbish...No matter if I go out at home in my small town or travel to big cities...Most of the time I go off unplanned, so I tend to walk and let my interactions with the street take me to where I hope I'll take a successful photograph. When I'm in the streets I try to be open and relaxed and to allow my eyes to take me to unique new experiences. I love to let myself drift, do I go left or right? Where do I feel the energy I need? But when I'm working on a series, for example, I go off quite purposefully with an image in mind and look for the places where I might find the right motifs. With my corporate streets, the storytelling for companies, I have a rough concept according to which I proceed. I know that in the end a book should come out. 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? JFK: When I started street photography seriously, I had of course read from great photographers that most of them use a fixed focal length (use your feet for zoom!). Nevertheless, or maybe because of that, I went out with a Lumix GM5, 12-32mm. That's a bit wide-angle but by the end of the day, I was pretty far away and cropping! It helped me get over my fear in the beginning and it was a great dry run. I then extended it a bit with a 7-14mm Vario lens on the camera. That was pretty fun and I got a lot of pleasure out of it. That was a lot of fun and I get great crops with it, but since I got the Leica Summilux 1:1.4/25mm lens on my camera I know the photographers are right! It's a whole different thing to shoot with a fixed focal length. You approach your subjects very differently, the compositions become different, and you don't crop! I recently started using the fujifilm X100v with a 23mm fixed focal length, sometimes with a wcl converter...that's the equivalent of a 28mm fixed focal length. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? JFK: I am very satisfied with my photographic career in street photography so far. In addition to individual and group exhibitions, some of my pictures have been awarded prizes internationally or have been published in books. However, I would like to step on the gas a bit more, there is still room to get even more attention. I love to pass on my knowledge! I am a very good teacher, I know that from my experience in music and cooking! Maybe my pictures will be so interesting that photographers will want to know how I take them! Technique, focal lengths, depth of field, etc.. You can learn all these theoretical things and with experience, you learn how to deal with them...that can be learned. What you can't learn in books or on YouTube is the seeing, the perception, the mindfulness, the courage or the humility with which you should be on the road...someone has to show you that and explain...why that is so important. I like to pass that on in workshops. Of course, I would like to have more exhibitions with picture sales, that's for sure. Sales are starting but it could be more. With my corporate street thing, I would like to have more stability in the orders. But that will all come, I'm sure. All this is to say that I can make a living from the photography I want to do. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JFK: Every month I travel to a big European city and spend a week there to photograph on the street, to improve myself, to consolidate my photographic handwriting, you never stop learning. I also work on different series, which means I go out specifically to photograph a theme. It's one thing to select pictures from your archive that have a common theme, and then put them together in a series, or if you're working specifically towards a new theme. A very new collaboration with a pianist: we did an online session where she improvised on the grand piano to a picture of mine (which she had chosen)...it was an incredible experience. My picture started to move, and the music gave me the feeling of being in the middle of the picture. Then, we turned it around: she sent me a music recording and I went off and made a picture to go with it. An approach that is very unusual for me, very exciting ... out of my comfort zone. TPL: When I am not out photographing, I (like to)... JFK: Seeing films, spending time with my wife and my family...and I still love cooking! Jens visually condenses ordinary scenes and objects into a fragmented view changing the context and narrating a new story. We thank Jens for the opportunity to share his project and what is behind his story. Connect with Jens to stay up to date with his photography projects. VIEW JEN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. CONNECTED DICHOTOMIES July 5, 2024 INTERVIEW PHOTOGRAPHY Tatyana Mazok INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Emerging from the vibrant urban fabric of Minsk in Belarus, photographer Tatyana Mazok captures the essence of existence through her lens. With a rich academic background at Belarusian State Economic University, Tatyana tempered her mind with discipline, later infusing her artistic work with precision and passion. It was through photography that she discovered her authentic voice, a confluence of her diverse interests and her intrinsic identity. In 2019, under the illuminating mentorship of Elena Sukhoveyeva and Viktor Khmel, Tatyana’s creative flame was kindled, propelling her on a journey of exploration through the author’s school. Subsequent years saw her delve deeper into the nuances of the craft, navigating the realms of visual history at the Fojo: Media Institute Linnaus University and honing her cinematic eye at the esteemed ‘Marusina Masterskaya.’ Tatyana transcends mere technical skill. Her photography embodies the ability to capture the ephemeral, immortalizing the beauty of life’s transient moments. In her own words, “I shoot what I love and what interests me at a particular moment. And I get satisfaction from capturing the moment.” In her series “Connections,” Tatyana presents an introspective journey, using evocative diptychs to explore the complex web of relationships that shape our existence. Her lens thoughtfully transforms everyday moments into timeless reflections of beauty and self-discovery. Authenticity and emotional resonance are the cornerstones of Tatyana’s photographic philosophy. Her intuitive approach fosters a depth of immediacy and honesty, drawing viewers into her experiential narrative. Throughout the series, Tatyana deftly captures the ceaseless flux of the world around her. From the ever-shifting landscape of her urban surroundings to the subtle nuances of human interaction, each image serves as a testament to the ephemeral nature of existence. Yet, amidst the perpetual tide of change, Tatyana finds solace in the unchanging beauty of the natural world. As she eloquently observes, “The photos remain unchanged: family, nature, city and myself.” Central to the thematic fabric of “Connections” is Tatyana’s exploration of the myriad connections that bind us to one another and to the world at large. Tatyana skillfully reveals the hidden patterns of interdependence, sparking contemplation of our profound interconnectedness. Whether capturing the delicate symmetry of a family unit or the symbiotic relationship between humanity and the environment, Tatyana’s images serve as poignant reminders of our shared humanity. Beyond the visual allure, Tatyana’s work invites philosophical contemplation on memory and perception. She captures not just the world around her but also her personal experience within it, offering a unique perspective on the narrative flow of life and the resonance of visual storytelling. Join us in delving into Tatyana Mazok’s heartfelt photographic vision — a vision that extends beyond mere documentation, embodying the profound impact of photography as a conduit for introspection and discovery. “CONNECTIONS is a polysemantic name. On the one hand, there is an external visual connection between the photographs in each diptych: through color, compositional technique, and similarity. On the other hand, it is about the connection between human and nature, human and the city. And, how much they have in common. It’s also about my internal connection with each element in the photograph, because it’s all familiar to me: my beloved children, Belarusian nature, familiar roads and courtyards.” IN CONVERSATION WITH TATYANA MAZOK THE PICTORIAL LIST: Welcome to The Pictorial List Tatyana. What drew you to pursue photography as a form of artistic expression? TATYANA: At the very beginning of my journey, the technical part of photography was very difficult and took a long time for me. I slowed down and didn’t think about artistic language at all. I wanted to reveal all the technical secrets and, by pressing the camera button, produce beautiful masterpieces, filming everything. It was a great practical experience that led me to understand that photography can speak without words, speak for me, broadcast my inner feelings of the world around me. TPL: What role do diptychs play in conveying the interconnectedness of life in your work? How do you approach the composition and presentation of your diptychs to convey the connections you seek to highlight? TATYANA: Life and creativity are inseparable for me. In the diptychs there is an intensification of life. Moments from it. Let's just say, life twice: here it is life from frequent traces of birds on fresh snow and here is how the first rays of the sun covered a young face with freckles. They seem to be static objects, but they are a recording of what is happening in my life. The process of creating diptychs is always a unique event. It happens that one of the parts waits for its other half for two or three years. I don't deliberately shoot a frame in tandem with an existing one. I just take a photo of something, and then I scroll through it in my head and remember that once upon a time I already took a photo that would look incredibly good with it. Sometimes I make mistakes, but most of the time this exercise is successful. Can you imagine how great it is to bring together different years and different places? Of course, I pay attention to the composition of both parts. To enhance the effect, sometimes you have to crop the original frame. TPL: How do you incorporate elements of emotion and storytelling into your photographs to evoke a deeper connection with viewers? What emotions or messages do you hope viewers experience or take away from your photographs? TATYANA: I achieve contact with the viewer by close framing and large details. It turns out to be a kind of presence effect. The project is not difficult to perceive, visually calm in color, and it seems to me that every viewer will find in it something from their everyday life, memories from yesterday or today. I would also like the project to remind everyone of the beauty of every moment, of the value of our everyday life. TPL: How do you select the subjects or scenes that you capture in your photographs? What role does personal reflection play in your photography process, particularly in relation to your own connection to the subjects you photograph? TATYANA: Most often, my attention is attracted by lines, geometry, a fallen shadow, or my internal problem. I can walk and notice a fallen leaf, and now it’s already in the frame. I haven't photographed everything for a long time. And at different periods of my life my focus of attention changes. This gives food for thought - what is most important to me now. My inner experiences are transferred into photography. This changes the topic of research, working through a photograph of one’s feelings. This also affects the choice of color combinations in the frame. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? TATYANA: I had the experience of taking an amazing “Film Frame” course, where students watched films of one famous director every week, for example, “Kurosawa.” We analyzed the director’s visual language, his distinctive techniques, for what purposes and emotions they are applicable. And then they filmed their shoot using that language. Afterwards, I always thought about what I wanted to say with my shot, and what color, light, and compositional technique would help me with this. I also began to look at photographs of other authors, analyzing the author’s language. My photography serves as a documentation of my life. TPL: In what ways does your photography serve as a form of documentation or storytelling of your life and experiences? TATYANA: In general, all my photography is a document of my life. Whether I shoot self-portraits or my surroundings, this is all my little story. I show up in my photographs. You could say it's a photo diary. And, if they look back, this woman’s diary will talk about her mood, outlook on life, favorite color, some internal conflicts, joyful moments. And sometimes this diary has blank pages. TPL: Can you share any insights or lessons you've learned about yourself or the world through the process of creating “CONNECTIONS”? TATYANA: In the process of selecting photographs for the “Connections” project, I once again reminded myself of my inspiration and my content. Reviewing several years of archives, I have determined that my eye and my camera focus on what I love. I am filled with my family, the city I live in, trips to nature and myself. TPL: What drew you to study under Elena Sukhoveyeva and Viktor Khmel at the author’s school, and how did that experience influence your photography? And, how has completing courses such as ‘Photo History’ at Fojo: Media Institute Linnaus University shaped your understanding and approach to photography? TATYANA: At a certain point, I felt limited in my knowledge of photography. And how funny it is for me now, it seemed to me that I already knew so much. But I didn't know where to move next. In the direction. I was drawn to art, but there seemed to be a gap between us. I understood that I couldn’t handle self-education on my own; I needed a guide. In my search for a teacher, in reading reviews, in correspondence with graduates of Elena and Victor, I realized that this was what I needed. But I didn’t know that this would be the most difficult training, full of information, lectures, and deep immersion in project photography. A new, different world opened up for me, new names in the world of photography. Unfortunately, for a number of reasons, I was never able to complete my graduation project at this school. The knowledge gained here was structured in my head and rethought over the next three years. We can say that they were the basis for my design thinking and are still sprouting. The “Photo History” course, on the contrary, turned out to be easy for me to understand, but also deep in knowledge. A lot of material was filmed. I learned to speak through a series of photographs. My personnel selection process has changed, my view of topics that are of interest to society and other people, but not previously relevant to me, has expanded. But the main takeaway is to always choose what is important to you. Then working on history will be a pleasure. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TATYANA: I am firmly convinced that everything I saw and heard earlier in one way or another influenced me as a photographer. Something is filtered, something is analyzed and leaves an imprint. But I cannot pinpoint the authors who shaped my approach. I can name who I'm currently inspired by. Among the photographers are Jaume Llorens with poetic images of nature, Saul Leiter with his irregular framing, negative space, amazing color, Ilina Vicktoria - her portraits fascinate with light, contrast and deep emotion. I also really love the visual techniques of director Paolo Sorrentino. TPL: What do you hope to achieve with your photography in terms of personal growth? TATYANA: Great question! And of course I will be honest. I dream that my photograph will become part of the collection of MOMA, the Hermitage, and the European House of Photography in Paris. I dream of becoming one of the hundred most famous female photographers in the world. Loud, but that's how it is! TPL: When you are not creating your art through your photography, what else could we find Tatyana doing? TATYANA: I try to find time for everything that is dear to me. I used to sew a lot, embroider, and make jewelry. Now I read more, go to theaters, museums and of course spend time with my large family. As we reach the culmination of our exploration into the work of Tatyana Mazok, it becomes evident that her photography is not just an art form, but a vibrant tapestry interwoven with threads of life itself. With each photograph, Tatyana invites us into her world, offering a glimpse into the raw and unfiltered essence of being that defines her subject matter. Tatyana’s unique talent lies in her ability to transform life’s chaos into moments of serene clarity. Through “Connections,” Tatyana has not only shared her vision but also challenged us to see life through a different lens — one that recognizes the intertwining narratives and shared experiences that unite us. Her work is a compelling reminder of the beauty and complexity of the world we inhabit, and the endless possibilities that lie in the simple act of pressing a shutter. In closing, Tatyana Mazok's artistic journey is a testament to the enduring power of photography to move, to provoke, and to inspire. Her images remain etched in our minds, echoing the timeless dance of light and shadow, and inviting us to pause, reflect, and connect with the world in profound ways. Let us carry forward the message embodied in her work — that in the fleeting moments of life, there is a depth of connection and beauty waiting to be discovered. Thank you, Tatyana, for opening our eyes to the enduring connections that bind us all. VIEW TATYANA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating. DOWNTOWN ATLANTA April 28, 2023 INTERVIEW PHOTOGRAPHY Branden May INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For over 15 years, Branden May has been capturing the wonders of street photography with his camera. His passion for the craft began as a young boy, when his father gave him his first taste of film photography. Since that moment, Branden has not been able to put down his camera. He has developed a unique perspective on the world and captures it with his lens, creating a stunningly beautiful blend of street, architecture, and light and shadow. Branden is an intrepid explorer of the world's diverse beauty, and his work is a vivid reminder of the world around us. Every one of Branden's shots is a testament to his unwavering dedication to the craft of photography, and a stirring invitation to explore its fascinating depths along with him From the vibrant colors to the intimate moments, become the inspiration in this story of one man's journey to freeze-frame the heart of a city. The compositions of Branden's pictures often accentuate the isolation of his subjects, who are often alone, metaphorically and literally, despite the city's bustle. The structure of buildings, their interaction with people, other structures, and most importantly, the play of light and shadow at different times of the day, are all studied by Branden. The Pictorial List invites you to experience Branden’s perspective on his approach to photography and peruse through his collection of photographs captured on the streets of Atlanta. “My father once said that walking down the street can teach you quite a bit, and photography is no exception. Being raised in Atlanta has also played a significant role in my passion for photography.” IN CONVERSATION WITH BRANDEN MAY THE PICTORIAL LIST: Hello Branden…welcome to The List! Let's start by telling us something about yourself. BRANDEN MAY: Hi there, thank you! My name is Branden, and I’m happy to be here! I'm a photographer from Atlanta, Georgia and a husband and dad. My passion for photography extends from portraits to product photography, but I'm particularly drawn to the beauty of street and architecture photography. TPL: What would you say first drew you to photography? What is it about this medium that you still have a passion for today? How did you find street photography? BM: Freezing a moment in time has always captivated me, no matter how big or small. Each captured moment is unique and personal. This still drives me today. My father once said that walking down the street can teach you quite a bit, and photography is no exception. Being raised in Atlanta has also played a significant role in my passion for photography. I'm captivated by how people interact with buildings, structures, and light and shadows. By combining these elements, I create scenes that reveal the hidden beauty of everyday city spaces. TPL: Could you tell us what living in Atlanta has inspired in your work? What special qualities unique to this city influence your street and the way you portray your community? BM: My photography style is unique, covering a broad range of subjects, but I have a particular passion for street and architecture genres. Through my lens, I explore the interplay between people, buildings, and their environment, using light and shadows to create compelling scenes. I learned to anticipate how sunlight and shadows play out across the city at different times of day. Witnessing the ever-changing interplay between light and shadow is a marvel that inspires my photography. By showcasing the understated beauty of ordinary city spaces, my work captures the essence of urban life in a way that is both unconventional and captivating. TPL: There are two techniques that are colloquially referred to as ‘hunting’ and ‘fishing’ in street photography. When you are out on the street taking pictures, are you a ‘hunter’ or a ‘fisher’, or is it a combination of the both? Please describe your process. BM: I believe I’m a mix of both styles. I wander from block to block, seeking out intriguing compositions, especially on rainy days. Sometimes, I wait patiently for the perfect subject to enter my frame, even if it means staying put for 45 minutes. This habit harks back to my Atlanta roots, where I would watch the sunlight change as I would sit in traffic with my parents. TPL: What is the most rewarding part of being a street photographer for you? What are some challenges that you have faced? BM: As a street photographer, the freedom to capture life as I see it is incredibly rewarding. I relish the chance to explore and experiment, taking risks and following my creative instincts. However, finding time to shoot amidst my work and family schedule can be challenging. When I do hit the streets, I make every moment count. Unfortunately, security guards can sometimes dampen my enthusiasm, sapping my joy for the craft. Nonetheless, the thrill of capturing raw, unfiltered moments keeps me coming back for more. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? BM: I find it difficult to turn off my photographer's eye. I'm constantly seeking fleeting moments to capture. My only obstacle is finding the time to frame and immortalize these visual gems. Witnessing the ever-changing interplay between light and shadow is a marvel that inspires my photography. TPL: How do you manage a work/photography balance? BM: Work takes a big chunk of my time, so scheduling time to shoot is the key. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BM: I have a few favorite photographers, but Gordon Parks holds a special place in my heart. His unparalleled talent for capturing a moment and weaving it into a nuanced, multi-layered story is truly remarkable. Additionally, the works of Saul Leiter, Berenice Abbott and Fan Ho have deeply impacted my style. Their masterful use of composition and shadow play has served as a wellspring of inspiration for my own photography. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? BM: That’s a tough question, but Fan Ho undoubtedly ranks high on the list. With his masterful play of shadows and backlighting, his techniques are legendary. Observing his creative process firsthand would be an unforgettable experience. 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? Is there anything on your wishlist? BM: My photographic journey began with my mom's Kodak Ektralite 500 camera and my dad's Olympus OM-1. Today, I use a Nikon D750, but I'm always on the lookout for new gear to test out. The Nikon Z fc has caught my eye. I'm curious to see what all the fuss is about! Let me know if you have a connect 😉 TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals for the next 3-5 years? BM: My wife and I run rentaprint.co, a print rental service that offers high-quality, cleared fine art architecture prints to a range of industries including TV, film, and real estate. I'm currently working on my first photobook and participating in several upcoming group exhibitions. My goal is to have multiple solo exhibitions in the next few years and eventually get accepted into Magnum Photos. I’m excited to continue to work and grow as a photographic artist. TPL: “When I am not out photographing, I (like to)… BM: Spend time with my wife and kids, cycle and play golf.” The photography of Branden has allowed us to explore and appreciate Atlanta in a way we could never have imagined. His unique perspective has given us a glimpse into the beauty of this Southern city that is not often seen. We would like to thank Branden once again for his stunning work and invite our readers to take this opportunity to explore more of his home city through his website and social media. VIEW BRANDEN'S PORTFOLIO Branden's website >>> Branden's instagram >>> facebook >>> vero >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. 18 >> 20 October 18, 2023 INTERVIEW PHOTOGRAPHY Elsa Arrais INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Elsa Arrais is a photographer living and creating impressive work in Leiria, Portugal. Born in Vila Nova de Famalicão, Elsa has become a beautiful thread in the tapestry of Portugal. With a background in Engineering, her attraction to visual arts emerged almost imperceptibly and gradually photography became her means of expression and artistic object. Elsa is married and the mother of two beautiful children, living and being inspired by the intricacies of the city of Leiria. Here Elsa has forged a path for her photography by embracing the artists and writers that bring life and character to Leiria in new and exciting ways. In 2021 began an important journey in photography contributing to the collaborative group Fotographar Palavras, and becoming an integral part of their project. Fotographar Palavras is a group founded by Paulo Kellerman, that combines the talent of writers and photographers, engaging them to collaborate on translating words into photography. Elsa shares her inspiration. “Since 2021, I have contributed to the Fotografar Palavras project, where I often search the self-portrait for the defining elements of meaning. With a predilection for minimalist black and white, my visual exploration is guided by local and temporal ephemera, transforming the peculiarities of the details that I find, in the streets I wander, into brief windows, fragments or reflections of memories and personal essences.” Despite all these years living in Leiria, Elsa never felt a real connection with the city. As a mother of two children, it can be hard to find time to call your own, to focus on what inspires you as an artist, and to commit to making the time to create work. These disconnections became the motivation for the photographic base concept of this project ‘18>>20’, which was conceived to embrace these challenges, and create meaningful work. Elsa shares the creative and critical thinking processes that helped her breathe life into her project and give it a powerful direction. “This project emerged with the intention of connecting me with the city and naturally with myself. The use of a 28mm lens served to reinforce this aim of proximity and intimacy with the city, both metaphorically and technically. From this reflection of my relationship with the city, capturing both details and subtleties as well as the city's identity marks, at the end of this project I came across a series of images that subtly lead to a city-shelter. This theme ended up being as personal as it was universal and will therefore serve as the basis for a cycle of reflective conversations developed in partnership with the municipality of Leiria, publisher of the book.” With critical thoughts and ideologies in place, the creative process becomes the focus. Elsa was driven to make the commitment to create this work in a meaningful way. “During one year, always at the same time of the day (between 18 and 20 o’clock), I wandered around the city and photographed Leiria freely. I created a collection of hundreds of images, composing a subtle and emotional portrait of the city, capturing details and subtleties, permanence and mutations, the subtle identity marks that define the soul of constructions and nature, of spaces, of people. From each weekly selected photograph by Paulo Kellerman, he created a brief text (amalgamation of fiction, philosophical reflection and poetic narrative) that offers new possibilities of reading for those images. The aim of this collaborative work (52 weeks, 52 photos, 52 texts) was to compose a simultaneously artistic, emotional, poetic and imagery portrait of the city in a predetermined period of time, in an intimate relationship between emotion and reflection, urbanism and privacy, collective and individual, space and time, image and word.” One can make a significant statement through their personal work, while sometimes the power can be amplified by combining artistic energy and vision from another artist to create an entity larger than oneself. This was the dynamic and inspiration for both artists to produce this relevant work together. Elsa explains the relationship between her and Paulo Kellerman, and how effective they have become at exchanging artistic concepts and visions through photography and word. “Fascinated by the various readings, interpretations and meanings that are normally attributed to my photographs by observers, already collaborating at the time in a project that combines literature and photography and being an avid supporter of multidisciplinary and interconnection of various artistic expressions, the partnership with the local writer Paulo Kellerman came naturally. Mutual respect and trust in individual works allowed us both to be free in the process of creating images and texts. And it was from this freedom, trust, interconnection of interpretations, individual complicities with the city and complicities between photographer and writer that a new vision as collective as personal was born, created week after week. This process culminated in the publication of a book where growth and discoveries are shared.” Paulo Kellerman shares his experience collaborating with Elsa on this project together. “The project 18 » 20 was an amazing creative experience, based on the complicity between writer and photographer. We had time for this project, and that was very important to us: to have the opportunity to think about and discuss the project, to experiment, to see how it slowly materialized. Elsa is very enthusiastic, very determined, very challenging, very cooperative, very generous; it was an enormous pleasure to work with her and I think it shows in the book. I'm very proud of the work we achieved and also of the way we did it, the process in itself. It was a perfect example of co-creation: sharing and creating together, harmonizing points of views and aesthetics, learning with the other, putting the best of each one in the pursuit of a common goal.” Elsa has created new pathways she follows through the streets of Leiria with her photography. She has embraced a philosophy and vision that inspires her to utilize photography in meaningful ways to create important work. As an artist and photographer, she works with clear vision, and an open mind to learn more and to be influenced in creating new ways of seeing and understanding the world around her. “We exist in a present where photography is as accessible as it is conditioned. Accessible to everyone at the touch of a cell phone but restricted in many contexts to those who want to use it in the shared space as a form of artistic expression. Based on this dichotomy, Elsa Arrais searches in the commonplace of everyday life for a voice that many times echoes beyond the expressiveness of a face; her search for notable physical expressions, as well as places' identity details, seeks to establish words capable of awakening emotions and imaginary (and imagery) interpretations in external observers, usually keeping the identity and intimacy of those portrayed intact. The result of this balance between technique, emotion and delicacy is the creation of an ambivalent language dictionary, as complex as it is simple, which oscillates between light and shadow, geometry and emptiness, being and its outer contour, the concrete and distortion; between what remains immutable and what continues under construction; between freedom and repression. As an existential metaphor, this dictionary continues its quest for permanent growth and mutation, in the hope that one day it will become extinct or transformed into a grammar that, complete in itself, forms part of the universal language of images of the present in which we exist. The present where photography is as accessible as it is conditioned, and therefore needs dictionaries.” The Pictorial List asked Elsa some questions about her as a photographer, and co-creator of project and book ‘18>>20’. “I truly aim for the viewer to be drawn into the city of Leiria and walk in it, along with us, having a temporal journey and identifying the subtleties we came across during the one year. I wish this work can make them question their own relationship with this city and with their home cities. And also hope that, amplified by Paulo Kellerman’s words, the viewer can get carried away by imagination and create their own stories and interpretations around the shared pictures projecting this skill to others' photos.” IN CONVERSATION WITH ELSA ARRAIS THE PICTORIAL LIST: Hello Elsa, thank you for your insight into your inspiring project. Tell our readers a little about yourself and the important role that photography has come to play in your life. ELSA ARRAIS: I come from a typical middle class Portuguese family. For as long as I can remember, photography has always been present in our lives. In my parents' house I could always find framed photographs on dressers and walls. I remember my father showing photo-slides of significant family moments, seeing organized family photo albums and, later, seeing my brother experimenting with slow shutter speed or printing his photographs in an improvised darkroom at my parents' house basement. I was about sixteen years old when my brother gave me my first camera, a film point and shoot, easy to use but with a significant dimension in my ability to immortalize moments. I suppose I've always had a part of me connected to the visual aspect of the world around me, but at that time I still couldn't recognize it. This legacy of keeping significant moments in the form of photography continued to accompany me over the years and with the birth of my first daughter it was amplified, challenging me to explore and improve the photographic technique. With the arrival of Covid-19, and with it the first lockdown, the impossibility of visiting my parents and them going out led me to document the small hygienic walks, with the aim of bringing them a little of the beauty of a world they were prevented from seeing. In the beginning, they were photographs of small details that captured my attention, but as people returned to their daily routines, I began to become interested in including the human figure in my images, finally discovering my interest in street photography. On this trip I met extraordinary people with common interests, who helped me shape the artistic path I have been following. Today I can no longer imagine going out without a camera and, although there are many moments when I go out objectively to photograph for projects, it is still in the most unexpected moments that I manage to see and find the most special images. TPL: How hard was it to devote a commitment of time to balance your creative work in photography and your love for your family and the unsurmountable work that can be 24/7. Do you think it is essential for women, or men that care for their families to make this time for themselves, and if so, why? EA: It is definitely essential for anyone to have the possibility of using time for themselves in order to maintain an inner balance that allows them to remain persistent, tolerant and kind towards those around them on a daily basis. On a personal note, it was precisely photography that allowed me to balance both worlds, hiding behind the camera and using it as a physical and emotional barrier to create brief moments of detachment from family routines, even while within them. TPL: How have you grown as a person from these two hours a day, as a photographer, as a mother, as a citizen of your community? How has your family grown from this experience? When I walk through the streets of the city of Leiria, I finally feel the sensation of knowing every corner and alleys. The streets now have names, images, many stories and questions associated with them. The city is no longer just a city, it has become mine, both through the moments spent there and through seeing and reviewing the images collected and the texts created by Paulo Kellerman for them. I now understand that to have a sense of belonging, even in the case of a city, personal openness and genuine dedication are necessary. In Portugal, the time range in which we developed the 18 » 20 project includes approximately seventy percent of the year twilight or night light, which means that as a photographer I was able to widely explore low-light environments. The fact that Leiria is a relatively small city forced me to pay extra attention in order to obtain original perspectives and images week after week, making it a demanding exercise that cuts across all my photographic explorations. I often jokingly say that eighty percent of my photographs were taken with someone saying they are hungry, thirsty or need to go to the bathroom, as my children often accompany me on my photographic explorations. This project was no exception. Even so, it was never an impediment to facing it with dedication and rigor, quite the contrary, it proved to be an exercise of patience and joint growth. They were part of my vision, sometimes within the photographs, sometimes forcing me to see what my adult vision often doesn't see. My children are also co-authors of the look that is reflected in the images I produce. Deeply grateful for their precious help, when I make these forays into the life of the city, I also hope to illuminate the path to the possibilities of personal expression and forms of artistic contribution to the community. Despite the reflection on my relationship with the city being something personal ended up proving to be universal. The municipality's interest in holding a cycle of conversations on the topic of Leiria city-shelter is clear evidence of the impact that this work had on the city management responsible and that it will certainly continue to happen on the Leiria community. TPL: Since your work on this project, have you made connections to communities you did not have before, if so, explain what they are and the value or difference they have made in the way you engage your community now. EA: Regardless of having connected myself to the city itself, being a shy person, I still feel that I haven't connected myself to the humans of Leiria community. Hopefully it may happen within the cycle of conversations. Despite this, it has led me to get involved in several different projects, where I have been using all the growing know-how from this project and making me take a next step into the photography world by talking and getting to know the local people. TPL: Can you tell our readers what collaboration and working on projects have done for you, and the importance of setting goals, and committing to achieving them. EA: For me, working on both individual and collective projects is a process of permanent learning. I always try to work on something meaningful, so it becomes intuitive to maintain focus and motivation, and the work flows naturally, especially on long-term projects. Challenging myself to step out of my comfort zone is also something I try to do with each project. This helps me to continue studying and exploring more about photographic techniques, other arts, places and people. When I deliberately challenge myself, I know I'm going to do something I've never done before, I overcome my mental barriers and technical knowledge, which usually results in truly rewarding meaningful images. Working objectively for projects, whether individual or collective, also helps me to establish visual priorities when I go out and to be methodical about categorizing the photographs that I regularly add to my image collection. However, for a project to come to fruition, a certain degree of commitment is always necessary, and the first step is to clearly establish the objectives and methodology. Nevertheless, the biggest benefit I derive from involvement in all projects is undoubtedly personal. They have been a beautiful way to rediscover myself and meet other people. 18 » 20 is a clear example of this and would not have been possible without the complicity created with Paulo Kellerman. Despite the reflection on my relationship with the city being something personal ended up proving to be universal. TPL: What is some advice you can share about working on projects, and working with other people? What are some of the challenges you have come across, and how did you address them? EA: As I mentioned previously, I like to see each project as a learning process. Coming from the science field, I am always aware that the mutation and evolution of objectives throughout the implementation of a project is part of the process. This is essential for work with more significant and better results but, above all, for us to be able to be motivated. From my experience, in transdisciplinary collective projects it is important to maintain flexible thinking, without too preconceived ideas so that we are open to new perspectives and able to adjust to the ideas that emerge from the collaborative environment. This flexibility helps us learn more from individual shares, creating the right environment so that everyone can be surprised by the best of their contribution. The biggest challenge I faced in collective projects was managing individual expectations. This happens mainly in projects that involve several people with equal decision-making power, which is why I emphasize the need not to idealize something too personal and concrete when joining a work group. As an example, I can mention a project in which I participate, and which involves thirteen people. Managing expectations regarding the materialization of the project has been somewhat delicate and the solution we found to speed up decisions was to work in an open manner, where the choices approved by the majority of participants are in force. It's not the perfect solution but it's respected by the entire group, and it works. TPL: If you could work with any photographer for a day, from any time period, who would that be and why? What would you want to learn from them? What would you like to share with them? EA: The history of photography is full of interesting people, with whom I would love to share a day with, so it is very difficult to answer this question in a few words. Having to choose, I will opt for some of the classics and first of all I have to say Josef Koudelka. I am fascinated by his images, by the intimate relationship he managed to create with the gypsy community, by the peculiar relationship he shows with architectural aspects, by the mix of rawness and poetry he achieves in each photograph, by his simpler and complex compositions. I would love to spend a day with Saul Leiter, in a way his magnificent compositions show a certain shyness, with which I particularly identify myself, giving them a touch of intimacy in both his color and black and white work. André Kertész would also be one of those chosen, as I really like the way he used distortions to create surrealist images, decontextualized objects and used small surprise elements in his compositions. The use of small format prints also makes all your work special. As we are speaking of the Masters of Photography, I am positive that if it would be possible, I would rather learn than share. TPL: You are heavily influenced by the written word, what are some of your favorite authors, what inspires you in their words? EA: I confess that a great influence on my way of observing comes from the fact that I am an avid consumer of children's literature. Over the last twelve years I have spent a lot of time collecting and reading stories with my children by authors such as Leo Lionni, Hervé Tullet, Oliver Jeffers, Eric Carle, Jimmy Liao or Ana Juan. In these illustrated books the dynamics of composition, light and color serve a text, often very graphical and minimal. On a page, an image and a sentence, sometimes just a word, sometimes just the image, say it all. And it is in this world of saying a lot with little that I move with my camera and try to portray life. Naturally, it is inevitable to talk about the written word and not think about Fotografar Palavras, as it is a project that keeps me connected with the most diverse authors and the most diverse literary expressions. Being mostly made up of Portuguese authors, Fotografar Palavras, in the form of its founder and coordinator Paulo Kellerman, permanently challenges me to give new meanings to my photographs or create unique images with the aim of significantly filling each line presented to me. Once this process begins, for me, any author or phrase can be the target of inspiration and it is extremely rewarding when the perfect words are found to describe an image and vice versa. TPL: Do you have any new projects you are working on that you can share with us? What is their inspiration? EA: I currently have several projects underway. Mostly collaborative and multidisciplinary, in general they encompass themes that I particularly identify with, such as different areas of artistic expression and relationships between people and spaces. For example, in one of the collaborative projects we are exploring critical areas of environmental value. With a theme that is both current and future, it is perhaps one of the most challenging projects I am involved in at the moment. TPL: Where do you see Elsa Arrais in the next five years, what do you hope to achieve, are there any long-term goals? EA: My path in photography has been very natural and spontaneous. My goals have come to life as opportunities arise, and I like that. But in general, I hope to continue meeting interesting and generous people who I can establish new bridges with, challenge myself, share work and complicities, continue to learn and carry out work with its own identity, interesting and meaningful. TPL: When you are not conquering Leiria with your camera, what would we find you enjoying? EA: When I'm not photographing you can find me playing with my children, dissecting photography books, visiting museums and art galleries (especially with my eldest daughter), listening to music, discovering new places and exploring old places. Elsa Arrais has developed an eye and mind for insightful observations that she has learned to define through the lens like poetry, with much symbolism and meaning in her details. Her work is worthy of study, and with a deep look you’ll be swept away and walk the walk of the enlightened and inspired. Elsa has presented in national and international exhibitions and magazines, co-author of the book ‘18>>20’, and currently contributes to several projects that combine literature and photography. Have a look at her portfolio and follow her links for new ways of seeing and thinking about photography. VIEW ELSA'S PORTFOLIO Elsa's Instagram >>> Fotografar Palavras website >>> Paulo Kellerman's website >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.

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. PERIPHERAL PLACES June 15, 2025 INTERVIEW PHOTOGRAPHY Catia Montagna INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In ‘Peripheral Places’, Catia Montagna constructs a lyrical topography of the ephemeral — a series of triptychs that speak softly but resonate deeply. Born in Italy and now living between the United Kingdom and her homeland, Catia is an academic economist by profession, but her artistic voice is shaped not by data, but by a deep, intuitive sensitivity to the poetry of the everyday. A Progressive Street photographer with a growing international presence, her work reveals a philosophical and reflective perspective — one grounded in an awareness of time, memory, and social impermanence. ‘Peripheral Places’ is part of her long-term series ‘Short Stories’ — a project that distills fleeting encounters and spatial poetics into carefully curated triptychs. These “short stories,” as Catia terms them, are not narratives in the traditional sense. Instead, they are elliptical visual fragments, as minimal and open-ended as whispers of verse, anchored in the belief that less is often more. The triadic structure, like a literary vignette, provides just enough to provoke memory and emotion without closing the interpretive door. The places Catia captures are non-places in the Augé sense, but they hum with subtle presence. The human figure is nearly absent, but never far. Traces remain: an empty chair, a bent signpost, an empty vehicle — all imbued with the quiet echo of lives once present. Catia’s skill lies in making these echoes visible. Her photographs are not didactic; they ask rather than answer. Who passed through here? What moment unfolded just before or after the shutter clicked? There is an undeniable temporal dimension to her work. Time does not march forward. Each image is a still point in a turning world, evoking that moment when something is already becoming memory. This feeling is enhanced by her muted tones and soft natural light, which eschew the harshness of modernity for something quieter and more reflective. Her compositions feel accidental yet exacting, and always respectful of the space they depict. The photographs avoid central focal points, compelling us to explore the margins — mirroring Catia’s deeper thematic exploration of the periphery, both as a physical and conceptual space. The tension between the built and the grown is constant, neither fully dominant, each quietly coexisting in states of neglect and endurance. The power of Catia’s work lies in its suggestion rather than its certainty. Each story gains resonance. Images echo and enrich one another through subtle repetition and variation. Sequenced together, the works invite a slow, inward movement — not forward, but deeper into perception. What do we ignore? What lies just beyond our field of view? What stories do the edges tell? In this conversation, we explore the quiet architecture of her vision: her relationship to time, place, and disappearance, and how her dual background in economics and art shapes a photographic voice that speaks not in statements, but in questions. “Looking back at photographs, I often wonder what became of those people with whom I briefly coexisted in a certain place and at a given moment in time. People who only left a trace of light through the lens of my camera, an impression in my memory. Who were they, where were they going? These questions always evoke the idea of a story in my mind and raise the further question of how long a photographic narrative should be – so as not to provide the viewer with too narrow an interpretative key. This is how I began to conceive a project consisting of a series of ‘short stories’ – each of three photographs – that, as in literature, are more ‘open-ended’ than longer, more articulate narratives. Tales that are as short as the chance encounters that underpin them, with human presences often barely hinted at, and united by the fact that the narrator in each is the ‘place’ in which they unfold: places that speak of the passing of time and the ephemerality of existence reflected in the imprints it leaves on objects and landscapes. In Peripheral Places the stories unfold outside large urban centres in sometimes anonymous places, places of passage and of discrete existences frozen in instants of the present as they are already turning into the past.” - Catia Montagna IN CONVERSATION WITH CATIA MONTAGNA THE PICTORIAL LIST: Each story is structured as a photographic triptych. What did the 3-image structure offer you narratively or emotionally that a single image or longer series could not? CATIA MONTAGNA: I think the triptych works well on both a narrative and emotional level for me. The idea of developing short photographic stories did not come to me till the first story in this series – The King of Diamonds – was born. On our way to Brescia to see a Fontana’s exhibition, we stopped at a café near Cremona. It was a quiet and rather hot summer day, with a glaring light, and I was immediately taken by the almost out-of-time atmosphere of the place. I wanted to capture it and took a handful of photos. As we got back on the road, without looking at the photographs, I started to visualise a triptych. It was all rather instinctive, really. I felt there was a story to be told and one single photo could not do it: there was the sign, the dusty courtyard, the somewhat dated décor of the café and inside, behind the old rope curtain, the young people chatting quietly in the rarefied silence of the heat. But to convey the uncertain aura of the place, I knew the story had to be barely sketched, as short as a Japanese haiku. Looking back at it later, it reminded me of the first collection of short stories by Katherine Mansfield I ever read, as a teenager. I was thoroughly captivated by their narrating power – sketched, and yet precise, descriptions of places and people, stories that lingered in the mind and provoked strong emotional responses partly because of their very sense of unfinished. That is how the idea of developing this concept came to me. TPL: Your visual stories lean into ambiguity and openness. How do you negotiate the tension between revealing just enough and allowing space for mystery, interpretation, and the viewer’s own projection? CATIA: I see photography as being intrinsically relational: it is in its nature to say and not to say, to suggest rather than reveal, leaving room for interpretation in what is, ultimately, an open dialogue, a conversation between the photographer, her subjects and the viewer. And as with any conversation, communication is the most effective if any one actor does not take over and dominate the exchange! So, clearly, there is always a tension between the richness of a story and that ‘space for mystery’, as you call it, that has to offer room for the viewer’s freedom of interpretation – or the freedom of interpretation of the photographer, for that matter… A degree of ambiguity needs be there for me too; if a lot is left unsaid, I myself see something different every time I look back at a story. I suppose that is how I resolve this tension – I put into a story just enough not to kill my own curiosity… TPL: You refer to the narrator in these stories as ‘the place’ itself. How do you decide when a place is speaking – and what gives a place, in your eyes, narrative authority? Yes, in these short stories I chose to put the ‘place’ at the centre, as narrator, and to barely hint at the human presence – which I find is increasingly the case when I do street photography. I suppose this partly reflects the strong sense I have of the importance of places, of how they shape and are shaped by our lives. Places speak and can reveal more of a society and a culture than the people who move in them do. I spoke earlier of the relational nature of photography. I very much agree with the view – so powerfully expressed by Ariella Azoulay in her Civil Imagination – that the subject-actors relationship in photography unfolds in and is influenced by the ‘public space’. And our interaction with the public space occurs at the intersection between our personal experiences and the social and cultural structure that precedes those experiences – which, incidentally, is another reason why these stories may speak differently to different people. So, to go back to your question: how do I decide when a place is speaking – and what gives a place narrative authority? It is very subjective. The atmosphere of a place is the first trigger for me when taking photographs. And it is that atmosphere that gives it narrative authority. I need to ‘feel’ the place – and I find that for me this is all the more likely the most ‘normal’ is the place, be it in a city or in the countryside. When a place speaks to me, I want to give it voice through my photographs…whether others will hear the same story remains to be seen – but that is the beauty of it all, I think. 1 - The King of Diamonds © Catia Montagna 2 - The King of Diamonds © Catia Montagna 3 - The King of Diamonds © Catia Montagna 4 - Coca-cola © Catia Montagna 5 - Coca-cola © Catia Montagna 6 - Coca-cola © Catia Montagna TPL: There is a powerful meditation on time and memory throughout this work. How does photography help you process the ephemerality of life – the sense of ‘things passing’ – both personally and conceptually? CATIA: The unstoppable passing of time – I felt it since I was a child. This sense that we are ourselves very transient has gone hand in hand with a certain inability to live in the moment. Photography helps me in this. It is a powerful way for me to feel the moment; it accentuates my awareness of the here and now. I guess for me the experience of photography is what gets closer to a state of meditation. When I photograph, I become oblivious to everything else, and all that exists is that instant. Transient and insignificant as a moment might be, by pressing the shutter I freeze it and recognise its importance, not so much or not always with the intention of documenting it or constructing memories, but to experience it fully in the very instant it is already turning into the past. In this sense, the personal and the conceptual are very much entwined, as it were. TPL: What does the term ‘peripheral’ mean to you – geographically, emotionally, philosophically – and how does it manifest through the series? CATIA: The ‘peripheral’ has always been quite central to my academic interests and work, not least because it is such a multifaceted and dynamic concept. As the non-centre, it can be seen as referring to what is marginal or less important, e.g. in the context of geographical, economic, or social hierarchies – what makes a ‘periphery’ and what does a periphery reveal about the ‘centre’? But the peripheral can also hold the unexplored or the unknown and invite exploration. In a narrow sense, in this series of short stories, the periphery manifests itself in the locations of passage from which we can at best glimpse the busy life of the ‘centre’, or in the sense of quietness but also of remoteness and isolation of a place. But there is more to the idea of periphery than this. To live in the world, to interact with it, to even begin to make sense of it, we need to be able to transcend our own skin and, from within our core, to cross our mental and emotional periphery. And photography can act as the key that unlocks our own boundaries and allows us to look beyond what we see... When a place speaks to me, I want to give it voice through my photographs. TPL: Do you find these peripheral places reflect aspects of your own identity, perhaps your experience of living and travelling between countries, cultures and disciplines? CATIA: Yes, our photography, the lens through which we look at and interpret reality is always the product of who we are. So, I guess my fascination with these peripheral places is somewhat shaped by my personal experiences. Growing up in a working-class environment meant experiencing to an extent both the geographical and the sociological meaning of periphery. And living abroad, travelling across borders has given me glimpses of what it means to inhabit the periphery of a culture. TPL: Is there a relationship between stillness in place and stillness in thought that you are seeking through your photography? CATIA: Yes, I think unconsciously this may well be the case. As I said, photography is also a means for me to fully live in the moment, and achieving a state of temporary stillness is instrumental to it. TPL: Do you set out with a narrative intent when photographing, or does your story form in later reflection – almost like finding poems in prose? CATIA: Normally, setting out with a narrative intent in photography does not work for me! I am rather instinctive – I respond to a situation, to a place, or to an atmosphere. At times, the idea forms while I am taking a photograph and this prompts me to take more pictures, to try to tease out a story that can articulate what I feel. At other times the idea forms later when, looking back at photographs, I start to see patterns emerge that bring out new meanings and interpretations. 7 - The Fiat © Catia Montagna 8 - The Fiat © Catia Montagna 9 - The Fiat © Catia Montagna 10 - The Bridge © Catia Montagna 11 - The Bridge © Catia Montagna 12 - The Bridge © Catia Montagna 13 - The Chair © Catia Montagna 14 - The Chair © Catia Montagna 15 - The Chair © Catia Montagna TPL: If so, how has your work on this project changed your relationship with photography? CATIA: My relationship with photography changes all the time; the more I photograph, the more my photographic interests evolve and the more I feel the need to experiment. This project has had a strong impact because it has changed my view of what a narrative can be. Interestingly, as I am developing the short stories, I have started to work on a couple of projects that are more documentary in nature and therefore require more articulate narratives. But even in these projects, I am very much aware of the tension between revealing and leaving space for the viewer’s interpretation. TPL: What possibilities are you imagining for the next chapters of Short Stories? CATIA: I see it continue to evolve as an exploration of the narrative power of photography, developing in several directions, both in terms of ‘places’ and ‘themes’. In this series of short stories, I used colour – something I do not often do – because when it all started, in the King of Diamond café, I was struck by the light and colour of the scene. I am now working on a black and white series. But the project is still very much fluid, and its final shape could well be very different from what I am currently imagining. Catia Montagna’s ‘Short Stories’ are not just about the photographs — they’re about how she sees, how she listens to places most people might pass by. There’s something deeply resonant in her way of working, of letting the world speak softly and capturing those moments just before they vanish. It’s a generous kind of storytelling, one that doesn’t seek control but connection. In her hands, the peripheral becomes central, not just geographically but philosophically. She reminds us that photography can be a way of paying attention, of honoring what’s easily missed. And in doing so, she gives weight to the fleeting and finds meaning in the margins. VIEW CATIA'S PORTFOLIO Instagram >>> Parallel Realities by Catia >>> Find her as part of the Progressive Street gang >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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.