PICTORIAL STORY RUNNING TO NOWHERE What drives a person to leave everything behind and run toward the unknown? In her award-winning series, documentary photographer Christina Simons takes us deep into the human stories behind Central America’s migration crisis. August 20, 2021 PICTORIAL STORY photography CHRISTINA SIMONS story CHRISTINA SIMONS introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In a world where so much of the unknown lies in wait to be discovered, Christina Simons has dedicated her life's work to providing insight and commentary into the unseen stories and aspects of the world. A multi-award-winning documentary photographer, Christina has traveled extensively throughout Australia, the United States, England, Spain, Russia and Mexico, capturing powerful images that evoke a profound sense of emotion. She is also a master of technique, having worked in the visual arts industry for over twenty-five years. Her work traverses many interests including travel, lifestyle, and portraiture and has been featured in publications such as The New York Times and The Guardian UK. Additionally, Christina has worked with several NGOs such as Medicines Sans Frontiers and UNICEF. For her latest solo exhibition and multi-award-winning series Running to Nowhere , Christina ventured deep into Central America to answer the question of why so many migrants would risk their lives to flee their homes, and what exactly are they running from? This exhibition was a culmination of Christina's years of traveling and dedication to providing key commentary into the unknown issues, places, and aspects of this world. Through the use of powerful imagery and compelling stories, Christina provides viewers a glimpse into a world, so few are familiar with. With her passion for justice and compulsion to observe, Christina's exhibition Running to Nowhere is sure to capture the hearts and minds of all those in attendance. Central American migrants have been making the perilous journey through Central America and Mexico for over 30 years. It is an old refugee story but in the current political climate it is not only ongoing but heightened by the family separations and mass deportations from the United States. Yet the numbers of people making this journey has not dwindled. The journey across borders is made by various means. The environmental hazards of dehydration, food and water contamination, sunburn and disease, as well as the physical dangers of the trains, all come second to the risk of theft, rape, violence, kidnapping, and murder. Why would anyone risk such dangers? My work on this issue commenced in 2015 with an assignment with Medicos Sin Fronteras (MSF) at their projects in refugee centers in Tenosique and Ixtapec in Mexico. It was profound to me to see hundreds of traumatized people mainly from Honduras and El Salvador, with stories so often the same: all trying to flee the violence and terror they experienced in their home countries. After meeting the individuals…the small children whose parents haunted eyes told me that they only wished for a safe future for their children; what started as an assignment for MSF evolved into a passionate pursuit to share and expose the…Why. Why…they would flee and what are they running from. In the 1980s ‘Mara’ street gangs originated in Los Angeles. Having fled from civil wars in Honduras and El Salvador, many joined the Mara Salvatrucha (MS13) or Calle 18 (M18) gangs. In the 90s, the US government deported gang members back to their respective countries. Now, decades later, the relocated ‘Maras’ are running poverty-stricken Honduras and El Salvador into desperate circumstances. Hundreds of thousands of people have fled their homes in Central America with the hopes for a safer life risking their lives to get to somewhere else, only to face separation, deportation or go into hiding. It was clear that my devotion to document ‘the why’ would require an expedition lasting a few years and which took me all over Mexico, Honduras and Texas, following refugees on their journey meeting people who want to flee, are fleeing, have been deported as well as those in hiding. I have met ‘coyotes’ (those who transport the refugees across the borders) and I have met the people who the refugees are fleeing from. I have visited several locations along the route that the migrants take within Mexico. From Ixtapec near the Guatemalan border and the Suchiate River crossing in the south, all the way to Reynosa on the US border. I have visited several shelters all over Mexico with MSF where the migrants stay to recover from physical and psychological trauma. I have traveled north following a group of refugees along their journey. I’ve visited a group of women known as “Las Patronas” who have for over 30 years, thrown supplies to refugees traveling on ‘La Bestia’ (a giant freight train that migrants and refugees hitchhike upon) as it passes in Veracruz. I have travelled throughout Honduras. I spent time both in San Pedro Sula and Tegucigalpa meeting and talking with Mara gang members, ex-members in hiding and prisoners awaiting release. There I also met with many who hope to make the journey north or who have returned or been deported. I’ve met ‘Coyotes’, those who transport or traffic people across these countries illegally for a fee. I went to Texas on the US/Mexican border only to see what happens to refugees once they arrive in the United States. I visited the Laredo coroner’s office and the John and Jane Doe gravesites in Texas where hundreds of Central Americans finish their journeys in the worst possible way. Yet the better outcomes are grim when faced with brutal deportation policies and family separations. Between 2015 when I began this story it is now an even more desperate story than when I first started it. There is a great deal of coverage on the border issues of the United States and Mexico and while covered by the media in parts, there is little enquiry into why Central Americans are fleeing to the United States to begin with. This story is rather the sum of its parts, radiating impact on several countries, crossing many borders. This is my point of difference in my story telling style; a holistic coverage of this issue across all its borders, creating a clear vision of how and why this is happening by focusing on the individuals who are impacted and suffering through this crisis. My work tells the story of what Central Americans face in their home countries as well as their journeys to America, once they arrive and why they would risk their lives to do this. My hope is this body of work would humanize the individual refugees and their circumstances creating exposure and awareness. I seek to generate compassion in an era where compassion fatigue, racism and intolerance ensues and that these refugees are better received in our respective countries with greater understanding and empathy. During my most recent trip to Mexico in late 2018, the ‘caravan’ from Honduras was moving north through the country towards the US border. There was a lot of disdain for the refugees on social media within Mexico. One of my friends said to me that they were surprised and upset at how many friends they had to delete from their social media accounts because they were so against migrants and refugees. To which, I said “No! Don’t delete them! When we have this exhibition, show them the book, talk to them about it, ask them if they still feel the same way after they get to know these individuals a bit better.” Migrants passing on “La Bestia”: the beast, a freight train that traverses Mexico from the southern to the northern borders of Mexico. The journey is fraught with danger least of all from falling and being injured on the train. The route it takes is littered with migration police, cartel and military all of who want to exploit those riding it. © Christina Simons Forty-seven years old Luis is from Guatamala. Two months prior he was chased by migration agents near the river and fell down the cliff landing in some rocks. He woke up 9 days later in hospital with half his face paralysed and four skull fractures. Flesh from his leg had been ripped off. He wants to go to the US to find his son who is in the army but doesn’t know how to find him. He was fine before the accident. He wept, “this accident, this journey has changed my life forever.” © Christina Simons Karla Mariana has travelled to Tenosique from Honduras. She has been feeling unwell in her pregnancy, so she is resting on the concrete floor of the Alberge. Two of her five children rest near her. 2016. © Christina Simons Rebecca (one year old) sits on the bed that she and her mother, Sandra share in Ixtapec. They are from El Salvador and are fleeing the violence in their country. Rebecca had two uncles who were murdered by the mara gangs and one who was recruited into a mara gang - they have not seen him again since that day. They await papers in a refugee centre known in Mexico as an 'alberge'. 2016. © Christina Simons Elisabeth and her son David (14) sit together in the morning before David goes to work to sell mandarins. David is extremely intelligent and the Maras in El Salvador wanted to recruit him in 2015, so they left with only $5 USD. They slept on the streets and travelled by foot for 40 days. They were deported from Tapachula once. Along their journey two Central American men assaulted them by knifepoint. The men took all their money and sexually assaulted Elisabeth. They have been in the alberge for 20 days and are awaiting a humanitarian visa. She has been sexually harassed in the alberge and doesn’t really feel safe but they need to await their visas before they can leave. She wants to work as a chef and send her son to school. © Christina Simons Juan - no last name - is 21 years old and from El Salvador. He was born on the streets and has lived there his entire life. His early life was spent with his mother until she died when he was 6 years old. At this time, he was found by MS13 gang members and he was forced to become a spy, informing on the other major Mara gang M18. He spent 15 years working with both Mara groups. In order to cope with the stress of exposure and involvement in violence and killing, he took drugs and self-harmed, evidence of which he bears today in rows of cigarette burns all over his body. He is making the journey across Mexico to begin again and to start a new life without violence. He hopes to experience love and peace for the first time. © Christina Simons When Wendy, an ex-MS13 member, was 12 years old both her parents were arrested and she went to live with her sisters. Her brother tried to rape her, so she began to turn to the MS13 gang as a family. With them she felt supported. Once she became a MS13 member, she started using drugs and so she was locked out of her sister’s house. One night she kicked the door to get in and went to bed. Not long after she heard voices of men who broke into the house and she told me “all of them raped me and they stole everything.” Three days later her sister found her, but didn’t believe her account of the rape. She instead accused Wendy of stealing from her. “Because they didn’t believe me, I wanted to kill my sister, so I did and before I could kill my brother I was arrested.” She has now found Jesus and burnt her MS13 tattoos in order to disassociate with the gang. Having done this, she risks being killed by other MS13 gang members as this is seen as a betrayal of her loyalty to the gang. © Christina Simons Yamileth aka ‘Siniestro’ (sinister in English) is a 42 year old ex-convict and ex-bandita M18 member. A female gang member is known as a Jaina - similar word to hyena. Yamileth was accepted into the M18 gang even though she was a lesbian, which is usually not tolerated. She was initiated in high school. She started to kill when she was 16 years old. She would nurse wounded M18 men and M18 members and store weapons in her home. She quickly became a senior member of the M18 gang. She described in great detail the way in which they would hunt, torture and kill their adversaries the MS13 members or those deemed betrayers. She was convicted for first degree murder and was sentenced to 20 years in prison. Upon release she found all the gang members she used to work with and who she considered family, were dead. This was and is her opportunity to exit the M18 gang life: anonymity. She now lives a peaceful life and hopes to reunite with her children. © Christina Simons Eric is 35 years old. He is a ‘coyote’ or ‘pollero’; meaning someone who transports or trafficks people from Honduras to the United States illegally. He’s done the trip 12 times and usually takes two or three people on each trip. He was kidnapped by the Zetas in 2007 for 7 days and by the MS13 in Mexico in 2004. His brother-in-law, Mauricio, was a coyote as well but quit his occupation when he witnessed the murder of a child by the cartel. He had tried to intervene but they beat him up and pushed their fingers into his eyes, blinding him for two days and that was when he escaped. © Christina Simons Doris Zulema Brito Hernandez, aged 53, has been charged with Fraud and Human Trafficking. Doris and her husband arranged to take a trailer full of 74 people to Texas in 2003. Of those 19 suffocated, including a 5 year old child. She was arrested at the airport in San Pedro Sula. Family members of those who died filed their reports with the police in separate cities so she was charged in separate states for the same crime. She has three sentences totalling 29 years, which has since been reduced to 22. She has already served 11 years in Tamara Women’s Prison near Tegucigalpa, Honduras. They never arrested her husband because they couldn’t find him even though he would visit her in prison. He has since passed away. Their two children are currently wards of the state of Florida. © Christina Simons Olman Orlando aka ‘Danger’ shows his lip tattoo, ‘Yefny’. He is a prisoner at Danli Prison in Honduras. Upon release he plans to travel like most refugees through Mexico to the United States. © Christina Simons Malgda Corales is 34 years old. She started her training to get into the M18 at the age of 12 and was initiated at the age of 13. She learned how to shoot a gun, and how to kill in order to be an active member of the group. At 16 she was arrested for several murders and sentenced to 18 years jail. She killed Ms13 as well as regular people. She has been moved several times around the various prisons of Honduras. Because she dresses like a man the guards beat her like a man.She has been tortured repeatedly in all of the prisons. She is now in maximum security because the M18 want to kill her for trying to leave the group. She has endured several assassination attempts in prison. She has survived 7 gunshot wounds. Human rights organisations attempted to get her out of prison so the penal system sent her to solitary so that the human rights group couldn’t access her. The isolation and abuse is too much so she had tried to kill herself. She is now about to be released from prison and wants to be out of the bandilla and hopes to reintegrate into society. However now that she has tried to leave M18 and they still want to kill her she plans to make the journey through Guatemala and Mexico and hopes to get political asylum in the United States. © Christina Simons The white crosses signify the unmarked resting place of John Doe illegal refugees found dead in Texas trying to find refuge in the United States. © Christina Simons Mauricio is 25 years old and from Honduras. He has spent several years travelling back and forth on “la Bestia” the freight train called “the beast” through Mexico, but has never made it to the United States. He survives by begging. © Christina Simons Twenty-three year old Elder Anibar is from Honduras. He waits for the giant freight train known as ‘La Bestia.’ Elder was travelling with 6 other family members to help keep the young and older family members safe. ‘There was a lot of crime in Honduras. The maras threatened us so we had to leave.’ They were headed north toward the US when Elsy, Elder’s 55yo - grandmother, fell off La Bestia and injured her ankle so she decided to return to Honduras with her three year old nephew, Joshua. They have all found the journey extremely difficult. Elder will continue the trip with the other remaining four. © Christina Simons Emerita de Jesús Palma is 79 years old. Three months ago, she travelled all the way alone from El Salvador to Mexico to find her son who is working in a banana plantation in Chiapas, but she got lost on the way. Due to her age she is applying for humanitarian visa as a vulnerable refugee and waiting authorities help to find her son. © Christina Simons Caught. Two adolescent boys being escorted by the Mexican military to the Migrant police for the deportation back to Honduras. © Christina Simons © Christina Simons Laura Avila is 51 years old and from Honduras. A year ago she lost her leg on the train “La Bestia” in Torreon Coahulla. “I left my country to get a better life and I’m returning worse off.” © Christina Simons Twenty-eight year old Juan Carlos was shot sixteen times and survived. He sits with his wife Yolani, aged twenty-four. They are from SanPedro Sula, Honduras, and are taking refuge in Guadalupe refuge centre Reynosa, Mexico where Juan spends his days cooking for other migrants deported from the United States. They didn't want to leave Honduras but they and their families were repeatedly threatened by the Maras. Eventually the maras found and shot him 16 times. Amazingly he survived while the maras believed he was dead. They have spent several months getting to Reynosa, travelling slowly and stopping regularly due to his injuries. Now they are seeking asylum in the United States but they fear deportation even with legal documents. And if they get deported back to Honduras they face certain death. So they will stay in the refuge in Reynosa until they can get asylum legally and with certainty. August 2017. © Christina Simons A key theme of this project is that most of us have come from ‘somewhere else’. If not ourselves, then our family, our relatives, our friends, people we know and care about who are a part of our community. If the tables were turned and our circumstances were that of a refugee, then what would we do? Would we not make the same decisions? In this, we are no different to them. view Christina's portfolio Read an interview with Christina >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. 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GOTHAM MEMORIES: NEW YORK CITY (1969-2022) Wandering the streets with his cameras, urban observer Jeff Rothstein has been photographing New York City since the dawn of the 1970s. GOTHAM MEMORIES: NEW YORK CITY (1969-2022) January 6, 2023 INTERVIEW PHOTOGRAPHY Jeff Rothstein INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As the sun rises over the rooftops of New York City, Jeff Rothstein wakes up to start his day as an urban observer. With his cameras in hand, Jeff embarks on his journey to capture the streets of his beloved city, just as he has done for five decades. His passion for photography dates back to the dawn of the 1970s, when he first roamed the streets of Brooklyn as a native of the city. A stroll down any given street transports us back in time, as each frame of Jeff's photos is carefully composed for the viewer to feel a part of his story. We witness life as it was through his viewfinder, from the mundane commutes to the liveliness of city life. His photos have become a treasure trove of nostalgia and a reminder of what this great city has been through over the years. Over the years, Jeff’s photos have appeared in a variety of publications, including Black & White magazine, SHOTS, Street Photographers Notebook special monograph edition, London Evening Standard, Daily Mail, Mojo, YES. Yoko Ono exhibition catalog, URBAN Unveils the City And Its Secrets Vol. 7, and Fillmore East: The Venue That Changed Rock Music Forever. Recent exhibitions include New York Public Library Mulberry St. branch, September-October 2022 (solo), Filter Space, Chicago, September-October 2022 (group), Black Box Gallery Online Annex, Portland, Or., September 2022 (group), ImageNation Paris at Galerie Joseph Le Palais, May 2022 (group), Porec Museum, Croatia, August–September 2021 (solo); H.P.F. Christopher, New York City, July 2017 (solo); and Winter, Analog Forever magazine, December 2019 (online group). His project Gotham Memories: New York City Images of the 1970s and 1980s won the Urban Photo Awards 2021 exhibition prize at the Poreč Museum (Croatia). Images from his book were picked as vintage award winners in Black & White magazine’s contests in 2019, 2020, 2021, and 2022. Jeff’s photobook, Today’s Special: New York City Images 1969-2006, was published by Coral Press Arts in June 2017, and is in the collections of many university and institutional libraries. Jeff Rothstein has been able to capture New York City with such beauty and vibrancy that it’s hard to believe he’s been doing this for over fifty years. His commitment to documenting his city’s history is unparalleled and makes us appreciate the ever-changing yet timeless beauty of this stunning metropolis. Follow Jeff as he continues to wander around New York, and take a peek into its past and present through his lens. “They are already memories once I press the shutter. These memories are at once mine and ours. Mine because they are what I have witnessed and captured with my camera. But they will be shared by all of us who know or have known the city intimately or casually or even remotely and vicariously. The photos are a record of history through a local eye. Many are evocative of the time and place of bygone eras, imbued with a timeless quality. The images in this portfolio span the years 1969 through 2022.” IN CONVERSATION WITH JEFF ROTHSTEIN THE PICTORIAL LIST: Welcome to The List Jeff, please tell us about yourself. What would you say first drew you to photography? JEFF ROTHSTEIN: I was born and grew up in Brooklyn, New York, and lived there for many years. I’ve been living in Manhattan since 1988. I now devote all my time to photography. I used to attend lots of baseball games and thought it would be fun if I bought a camera to take to the ballpark. So my getting into photography was really a means to an end. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? JR: My genre is street photography. I try to have the viewer feel like they’re right there with me as part of the theater of the street. TPL: Could you tell us what living in New York City has inspired in your work? What special qualities unique to the ‘Gotham City’ influence both your street and documentary photography and the way you portray your community? JR: Being a street photographer, I feel fortunate to live here. The city’s not as gritty as it was when I photographed years ago, but there always seems to be subject matter just around the next corner. I think people can sense the fast and crazy pace of life here when they look at some of my images. TPL: For the people who are not familiar with NYC, describe the atmosphere around you when you are photographing on the streets of NYC…the sensory perceptions that hypnotize and seduce you that constantly brings you back again and again. JR: When I’m shooting the streets of New York City I feel that I’m on the ultimate stage, with life’s everyday dramas and comedies always being played out. I seem to be drawn to the chaos that surrounds me. TPL: Did you ever think back then that you could be capturing an iconic era when you were photographing on the streets of NYC? In the future looking back at now, what do you think will be iconic about this era? JR: You know, when I was out photographing back in the day, I didn’t really think about iconic or historical eras. I was just recording life as it was happening. It’s only when I had the perspective of passing time that I realized I was recording a city that no longer exists. I think the same answer applies to photographing this era. TPL: What is the most rewarding part of being a photographer for you? What are some challenges that you have faced? JR: The most rewarding part for me is when people appreciate my images, whether through exhibits, books or online articles. Most of the challenges have been self imposed. I took a long time to finally decide to do my first photobook, though people whose opinions I respect were telling me to do one for quite a while. Finally having the book published was the best thing that happened to my career. When I’m shooting the streets of New York City I feel that I’m on the ultimate stage, with life’s everyday dramas and comedies always being played out. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? JR: Ha! Good question. I have to admit I’m always constantly scanning the streets looking for subject matter. TPL: How do you manage a work/photography balance? JR: I’m retired from previous jobs so photography is a full time pursuit for me. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? JR: Robert Frank, William Klein, Garry Winogrand, Saul Leiter. Plus a few great street photographers that unfortunately some people aren’t as aware of. These include Sylvia Plachy, Frank Horvat, Louis Stettner, Louis Faurer, Frank Paulin. Also the early NYC photos of Alfred Stieglitz and the NYC Ashcan School of early 20th century artists. 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? JR: When I was a kid, it was my family’s Kodak instamatics. My first proper camera was a Kowa SETR slr, which I bought in 1969. For many years, I just shot with film cameras (Nikkormat FTN, Nikon F2A, Nikon F3HP, Nikon FM2, Olympus XA, Olympus Stylus, Rollei AFM). I still use the F3HP, FM2A, XA and AFM. My preferred focal length is 35mm, but I also like 28mm. Years ago, I also shot with 50mm and 105mm quite a bit. A few years ago, a friend gave me a small, inexpensive digital point and shoot (one of the Canon powershots.) I’ve been using that for all my digital images so no, I really don’t believe equipment is that big a deal. It’s the photographer’s vision that really matters. That being said, I really should upgrade to a better digital camera (have my eye on a couple of Fujifilm cameras). 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? Where do you hope to see yourself in five years? JR: I edited and sequenced my next book and now I’m trying to find a publisher. It’ll cover the same time span as my first book (1969-2006 New York City) but will have twice as many images. My goals are to produce more books and to continue to exhibit my work. Hopefully in five years I’ll still be photographing the streets of the city. TPL: “When I am not out photographing, I (like to)… JR: Go to art exhibits (my wife is an art historian), eat good food, watch film noirs, read, listen to music (60s and 70s rock and folk, jazz, classical, blues). Jeff Rothstein's journey as an urban observer is a testament to the lasting power of photography and how it can serve to capture a moment in time. His dedication to capturing the beauty of his beloved city has afforded us a glimpse into its past, and provides us with a valuable window into its future. Through his work, we are called to go forth and appreciate the beauty of our cities, and how they are living works of art. We should take a page from his book and strive to capture the life of our cities in all its vibrancy and energy. We are challenged to be the observer and document our urban stories for generations to come. VIEW JEFF'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

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. STREETS OF KOLKATA June 29, 2025 INTERVIEW PHOTOGRAPHY Ayanava Sil INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE On the street, where chaos and calm constantly collide, Ayanava Sil finds his sanctuary. A photographer based in Kolkata, Ayanava explores the social landscape of his home city with observational patience. His approach is shaped by his experience as a self-taught artist, working in the margins of a fast-paced professional life. What distinguishes Ayanava’s work is not only its compositional discipline, but its sociocultural depth. His photographs invite us to look beyond the surface, capturing the street not as scenery, but as a space of layered human experience. There is often an emerging tension in Ayanava’s photography between presence and absence – people in motion, glimpsed through windows, reflected in rain-slicked streets, suspended between shadow and light, or the hushed remain of spaces echoing with someone just departed. He frequently uses leading lines and framing devices like windows, arches, or doorways to invite the viewer directly into the scene, allowing the photograph to speak for itself. These visual metaphors deepen the documentary quality of the work, aligning it more with humanist photography than street photography. He also demonstrates a refined command of natural light, often using it to isolate subjects or heighten compositional contrasts. His color palette is rich but never oversaturated, drawing attention to tonal harmony and texture. When working in black and white, his attention to tonal gradation enhances the emotional weight of his subjects and foregrounds structure over distraction. This has earned Ayanava both national and international recognition, with his work featured in exhibitions and photography forums around the world. One of the high points of his career came when renowned street photographer Joel Meyerowitz praised one of his photos, calling it “the kind of picture I felt I could live with.”— a statement that captures the lasting and relatable quality of Ayanava’s work. His role as curator of the Streets of Calcutta Instagram platform expands his photographic practice into one of community storytelling. Rather than using the platform solely to showcase his own work, Ayanava curates it as a living archive of Kolkata’s street life, shaped by many voices. It’s a gesture that reflects his belief in photography not only as personal expression but as shared memory and civic engagement. In this conversation, Ayanava Sil shares his reflections on navigating the streets of Kolkata with a camera, the ethics of photographing strangers, and how sustained attention to public life can reveal deeper emotional and social truths. His work offers thoughtful inquiry into how we move, wait, relate, and exist — together and alone — in shared spaces. “Street photography has been a truly transformative journey for me. It has helped me discover so much about myself, not just as a photographer, but as a human being. Through this process, I have grown personally on a deeper level. It has taught me patience. I have learned to wait for the right moment, to accept that not every shot will be perfect and to keep trying even when things don’t go as planned. It has also made me more resilient, helping me deal with disappointment and stay open to new experiences. This practice has made me less judgmental and far more empathetic. It has nurtured a deeper sense of tolerance and compassion, both on the streets and in my personal life. Ultimately, street photography has helped me grow into a more thoughtful version of myself. It continues to shape how I connect with others and with myself on a daily basis, making me a better and more aware person than I was before I picked up the camera. It is not just about documenting life, it is about learning, understanding and connecting in ways I never imagined.” IN CONVERSATION WITH AYANAVA SIL THE PICTORIAL LIST: Welcome to The List Ayanava! Can you recall the moment or experience that first sparked your interest in photography? What drew you to pick up a camera in the first place? AYANAVA: Honestly, I never had a strong interest in photography at the beginning. It all began with a curiosity about the camera itself. I was fascinated by how this little device worked and what kind of images it could create. Over time, that curiosity turned into genuine interest. Like in many households, I was the one always handed the camera during family gatherings and celebrations. I didn’t think much of it back then, I just tried to capture moments as they happened. No fancy techniques, no artistic plans. I just tried to frame memories as they happened, keeping things natural and real. But when people started appreciating those photos, something clicked. That quiet joy of capturing real moments drew me back to the camera again and again. And once that spark was lit, there was no turning back. TPL: As a self-taught photographer, what were your first learning resources or influences? Did you follow specific photographers, books, or platforms that shaped your vision? AYANAVA: As my curiosity about the camera grew, so did my interest in photography. I wanted to understand how cameras really worked, so I began exploring the settings on my own and turned to YouTube for guidance and to learn the technical side of photography. That is when I discovered DigitalRev TV around 2012, a channel that opened the door to a world I didn’t even know existed—street photography. Before that, I had no idea what street photography was. I never imagined I would enjoy walking around the streets just to take photos. Back then, Kai Wong was the host of the channel and he had this funny, witty style of reviewing cameras while roaming the streets of Hong Kong and capturing candid moments. Those images intrigued me, I was mesmerized by the raw emotion and storytelling in those images. I found myself hooked on his videos, watching one after another and before I knew it, I was stepping into the world of street photography myself. But the real turning point came when I stumbled upon the work of Soumya Shankar Ghosal, a street photographer from Kolkata. His photos struck a deep chord within me. What made it special was that his photographs were taken on the very streets I knew so well, the same streets I walked every day. That local connection really hit me. It felt unreal that such powerful images could come from such familiar places. His work inspired me deeply and made me see my own city in a new light. Over time, I also learned from legendary photographers like Henri Cartier-Bresson, Raghubir Singh, and Alex Webb. Their mastery of composition, use of color, and talent for layering scenes taught me to see the streets from a different perspective. Beyond these big names, I found inspiration in the work of local photographers too, people whose talent often goes unnoticed but whose passion and creativity speaks volume. In the end, it’s been a mix of inspiration from others and my own hands-on experience that has shaped my vision as a photographer. TPL: What were some of the biggest challenges you faced in the beginning — technically, creatively, or personally — and how did you work through them? AYANAVA: In the beginning, the biggest challenges I faced were more creative and personal. Creatively, I often struggled with what to photograph and what to leave out. I didn’t know how to choose characters, how to approach a scene or how to tell if a moment had the potential to become a strong story. I also didn’t know how to anticipate what was coming next, which is really important in street photography. On a personal level, being an introvert, it felt awkward and uncomfortable to step out into the streets and take photos of strangers. I was very conscious of people noticing me or questioning what I was doing. It made me hesitant and challenging at first. But I worked through these challenges simply by going out regularly and practicing, I learned how to blend into the crowd, how to observe without being noticed, how to approach a scene naturally and how to sense when a moment might turn into a meaningful image. And in the end, I didn’t give up and that quiet hunger for those one or two meaningful photographs I could bring home each time is what still drives me today. Looking back, I see that every challenge was a lesson in disguise. Making mistakes, experimenting and pushing myself out of my comfort zone helped me grow as a photographer. TPL: At what point did photography shift from a hobby to something more vital — a way of seeing, or even a necessity in your life? AYANAVA: As I began to enjoy the process more, I found myself becoming deeply attached to it. Photography slowly turned into something much bigger than a hobby; it became an essential part of my life and a new way of seeing the world. The real shift happened when I started noticing small details that others often overlooked, moments of light on a wall, a fleeting expression or the quiet beauty of everyday life. I began to search for potential frames everywhere, even when I didn’t have a camera with me. Balancing a completely different professional career with a heavily involved personal passion can be overwhelming. In those moments, photography becomes my stress buster. It is my creative escape, a way to stay connected to a world beyond spreadsheets and emails. It brings me calm and clarity in the middle of life’s chaos. Without even realizing it, photography became the force that keeps me grounded, inspires me and helps me keep going. I feel incredibly grateful to have it as a steady companion on my journey and it’s the one thing I have stuck with for the longest time. It feels less like a choice and more like something I was always meant to do. TPL: There’s a quiet tension in your work between visibility and invisibility. How intentional is this theme, and how do you cultivate that mood through framing or timing? AYANAVA: That quiet tension between visibility and invisibility is very intentional in my work. I often shoot with what I call an “anticipating mind”, I try to sense what is about to unfold, rather than just reacting to what is already in front of me. I don’t always want everything in the frame to be clear or obvious. I want viewers to pause, to look again and to discover something for themselves. I always try to freeze those moments that might have gone unnoticed if I hadn’t been there. To capture them, I rely heavily on clean composition and timing. I often wait in those in-between moments, when things feel slightly off or unresolved. I let the scene settle, wait for the characters to fall into place and allow the moment to mature. That’s where the magic happens and that is the moment when I press the shutter and make the image. I also tend to choose subjects or scenes that resonate with me or catch me by surprise. I am drawn to quiet thoughtful moments, perhaps because I see a part of myself in them. Whether it’s a lone figure in a crowd, a still moment in a chaotic scene, or a poetic play of light. My photographs are ultimately a reflection of who I am. They offer a glimpse into how I see and experience life. Photography brings me calm and clarity in the middle of life’s chaos. TPL: How does the pace and texture of urban life in Kolkata shape your visual narratives, both in form and content? How do you navigate ethical representation when working within your own cultural context? AYANAVA: For me, Kolkata isn’t just a city, it’s home. I was born and raised here and over the years it has become like an old friend, growing and evolving with me. There is something magical about the way life unfolds in Kolkata, the vibrant chaos, the sudden silences, the never-ending festivals and the countless stories hidden in the everyday. Kolkata is a city of contrasts, slow and fast, loud and quiet, old and new, all existing at the same time. These layers shape the way I see the world and deeply influence both the form and content of my work. Whether it is children playing cricket in a narrow lane, the early morning rush at the flower market or the soft golden light over the Ganga. The city has taught me to see beauty in the ordinary. It has shaped not only my photography but also who I am as a person. When it comes to ethical representation, I always try to approach my subjects with honesty and respect. I have always avoided showing poverty or pain as just an “interesting frame.” Instead, I focus on capturing the warmth, dignity, culture and quiet beauty of everyday life. Through my images, I want to show the world not just how Kolkata looks, but how it feels. TPL: Do you see your work as a form of cultural preservation, especially in a rapidly changing urban environment? AYANAVA: I don’t know if I can officially call it “Cultural Preservation” but yes, over time, I have realized that my photographs are quietly preserving pieces of the past. As I have been shooting for years, I have seen buildings disappear, places change completely, and certain traditions or rituals fade away. Some of the things I captured no longer exist today. Looking back at those photos now, I feel like they have become quiet witnesses to the changes around us. They hold memories of a city that is constantly evolving. Even though it was not my original intention, but my work has ended up documenting moments, places and cultural details that may soon be forgotten. In this way, photography becomes more than just capturing the present, it is also about holding on to what is slipping away. Photography lets me freeze time, not just for myself but for anyone who looks at my images in the future. And that, I think, is a special kind of preservation. TPL: Have there been moments when you chose not to take a photograph — either out of respect or discomfort — and why? AYANAVA: Yes, there have definitely been moments when I chose not to take a photograph, and I believe those moments are just as important as the ones I do capture. I think it is important to recognize when not to click, even if the scene feels tempting or visually striking. If someone tells me not to take their picture, I always respect their choice. I simply smile, nod and walk away. Photography, for me, is not about invading someone’s space. If I ever feel that taking a photo might make someone uncomfortable, I step back. I often put myself in the subject’s position and ask myself if I would want to be photographed in the same scenario. That helps me make one of the most powerful decisions a photographer can make — to not press the shutter. In the end, being a photographer is not just about capturing images, it is also about being sensitive to people and their surroundings. Respect and empathy are just as important as creativity and technique. TPL: Can you walk us through what’s typically in your photography bag? Are there tools or objects you never leave behind, even if they’re not technical? Anything on your WishList? AYANAVA: I like to keep my photography setup simple. What you will find in my bag is a mix of essentials and little comforts. Of course, I always have my camera, usually just one body, the Fujifilm X-T200 with the 15–45mm kit lens, a water bottle and without fail, my umbrella. That umbrella feels like a loyal companion, protecting me from unpredictable weather, whether it is sudden rain or harsh sunlight. I never leave home without it. On some days, I don’t carry a bag at all. I just grab my OnePlus 12 mobile phone and step out, it has now become my primary camera for daily shooting. I actually love shooting with my phone, it is light, fast and doesn’t draw attention. Modern phones are powerful enough to capture incredible images and they give me the creative freedom to shoot quickly and discreetly, blending seamlessly into my surroundings and capturing life as it happens. As for my wishlist, I do hope to own a Sony mirrorless camera sometime in the near future. TPL: Where do you imagine yourself creatively in the next 3 to 5 years? Is there something you want to achieve in this time frame? AYANAVA: To be honest, I have never been someone who makes strict creative plans. I have always preferred to go with the flow. Even now, I don’t have a clear idea of what I will do next. Due to professional commitments, I am living in a different city and haven’t been shooting as much as I used to. But even when I am not actively photographing, I make it a point to revisit my old archives. Looking through my past work is deeply rewarding, it helps me reflect, learn from past mistakes and discover new ways to grow. Looking ahead, what I hope to focus on, though I am not sure how much I will be able to achieve—is developing my long-term photography projects. I have been photographing for over a decade and have built a body of work around certain themes and stories. What I truly want now is to bring those moments together and shape them into thoughtful, well-connected visual stories. It is a challenging process that demands patience and self-reflection, but it is a journey I am genuinely excited to take. If I can turn those scattered moments into something meaningful, that would feel like a real achievement. TPL: When you are not working or out exploring the streets creating your photography, what else could we find Ayanava doing? AYANAVA: When I am not working or out with my camera, I enjoy doing a mix of things that help me relax and recharge. Music is a big part of my day; I love listening to different genres depending on my mood. I am also a big fan of larger-than-life movies, especially those that immerses you in a whole new world. I enjoy long walks, not always with the goal of taking photos but simply to observe life around me. I also love exploring new food spots, trying different local dishes and sometimes revisiting the same place just for the comfort of a favorite meal. Another thing I often do is go back and look through my older photos. It’s a great way to reflect on how far I have come and sometimes, it even sparks new ideas. And of course, when all else fails, there’s nothing better than a good nap. In a way, even when I am not actively photographing, I am still observing and still visualizing. That’s just who I am, with a camera or without. In speaking with Ayanava Sil, it becomes clear that his photography is not just a visual practice, but a quiet philosophy of living. His photographs are shaped by a deep attentiveness to the everyday rhythms of Kolkata, where fleeting gestures, fractured light, and quiet encounters speak volumes about human connection and urban life. More than documentation, Ayanava’s work invites us to slow down and reconsider the ordinary — to witness rather than consume. What makes his voice particularly resonant is its honesty. He does not position himself as a master observer, but as a fellow participant, moving through the city with humility, instinct, and an openness to what may unfold. His photographs don’t just depict Kolkata; they convey its pulse, its memory, and its evolving narrative. And as Ayanava looks to the future with quiet commitment to long-form storytelling, it’s evident that his work will continue to offer both intimacy and insight — not only into the streets he photographs, but into the soul of the photographer himself. VIEW AYANAVA'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

STA(Y-AC)TION Observing the passengers coming and going, waiting and staying, Emy Maike captures station life with the press of her shutter. STA(Y-AC)TION April 20, 2022 INTERVIEW PHOTOGRAPHY Emy Maike INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Emy Maike is a creative force to be reckoned with. Her passion for black and white photography has led her to create STA(Y-AC)TION, a project that captures the ever-changing scenes of station life with her camera. A patient observer and a true adventurer, Emy is a master of her craft. Born in Manila, Philippines, she has experienced a myriad of cultures and customs that have shaped her artistic vision. Today, she resides in Baden Württemberg, Germany but works in Switzerland, taking her project of capturing the beauty of station life to new heights. With STA(Y-AC)TION, Emy has created a meeting point for her and her friends, a place where the confusion, ever-changing scenes and interesting passengers can be paused and captured in timeless photographs. “Life is like a train station, people come and go all the time, but the ones that wait for the train with you are the ones that worth keeping in it!” IN CONVERSATION WITH EMY MAIKE THE PICTORIAL LIST: Firstly Emy, please tell us about yourself. EMY MAIKE: I was born and grew up in Manila, Philippines. I graduated in Elementary High School and I visited the PATTS College school as a Flight Attendant in Manila, Philippines. Living life in my homeland was, colourful, and so much happiness to remember. Now I live in Baden Württemberg, Germany and working in Switzerland. TPL: What draws you to photography and art? How did your journey into photography begin? EM: There are many technical uses for photography as well as social and creative ones. Photography can play a somewhat vital role in life. It can tell the story, capturing moments in time, it can be documentary, or it can be art. My passion for photography has been going on for many years and has intensified over time. I learned photography by reading photography books and just practicing. I photograph anything and everything, from landscapes, nature, wildlife, architecture, to people in the streets, but lately most of all I have been fascinated by experimental photography at home. Whether I am taking pictures or processing...an image has to elicit my interest. Photography is my universal language. TPL: Talk to us about your series STA(Y-AC)TION. When and how did this project first manifest itself? EM: I wasn't interested in public transport before. The interest, which has only developed in the last few years. is mainly the train station or tram station. At the station is interesting, there are many things that could happen there. To my friends and I, it is our meeting point. We call it “Stay Action”. When we have planned for a vacation for a few days or a day outing, we always meet in the station. The place is easy and we have fun memories. Easy if you pay close attention to review or memorise the plan, schedule, stop over – station to station and platforms. I use these outings to take the opportunity to pursue my passion of taking photos of what is going on about in the station. I must be alert to react, to move, to capture the that moment of time. Observing the passengers coming and going, waiting and staying. Being aware of dangers that may happen. Those characteristics of life in my project STA(Y-AC)TION are engaging, relevant, always close, memorable, loving, crying, fighting, dramatic, crazy-funny, hilarious, vicious and most of all, I love my thoughts of that time of moment that goes through my mind as I press the shutter...it's confusing but interesting! TPL: What do you want the viewer to experience and take away with them? EM: The Station series images I share appreciate the characteristics of the lives of the passengers who come and go. I turn it into my favorite colours black and white, it shows more attitude to life and also plays with the shades of black and white colours. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? EM: Henri Cartier-Bresson: The painter and the photographer. I like his work as a street photographer. The street photography is full of life, curious, funny and really interesting! I like mostly the lights and shadows he`s used to play and even more. Berenice Abbott: I didn't know who Berenice Abbott before was? Starting my influence more and more to take architecture and searching for some information and found her accidently in Google. I rush to buy books about her. Paul Klee: I like his passion of impressionism art of his work. The still life, the abstracted colours he has used. Claude Monet: One of my favourite impressionism artist. Mostly I like the outdoor painting, the garden. The blurred, vivid colours, and, the light and the dark. TPL: What are some of your most favorite spots you find inspiration to explore through your photography, and what draws you there? EM: Life is a place that is most hidden. A feeling and the mood in the viewers as an art form to explore. Photography is emotionally, provoking and visually stimulating art to show. Photography is my universal language. TPL: How have the streets and culture you capture influence your photography? EM: Everyone has something to say and tell a story. I try to interpret people's emotions and situation. TPL: What are some tips or advice you would give yourself if you started photography all over again? EM: When I start to taking photos again I will use my mind and all my heart. 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? EM: One way, my lens is the third eye and my thoughts captured the moments to share. I use Canon EOS 5mark iv; Sigma Lens 24-105mm and the Fujifilm X-T2; Fujinon Aspherical Lens XF 18-135mm. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? EM: My goals are to improve my skills. The more I practice, the more I have learnt the art of photography. I can't say yet where I'll be in five years, but I hope I'm still in good condition for the next years to come. And like everyone, I have a dream to triumph! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EM: I have some projects to share but it mostly takes a lot of time. Lately I fascinated by experimental photography at home. This is work in progress. TPL: When I am not out photographing, I (like to)... EM: I love to read books! Emy Maike is a trailblazer with a vision of capturing the ever-changing scenes of station life. She has used her passion for black and white photography to share her unique perspective with the world, creating a project that celebrates the diversity of station life. Connect with Emy through Instagram to support her documentary journey. VIEW EMY'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I have always liked the history of art and around the age of twenty I started my own personal research with the use of the camera. In this last period I have been interested in clouds, leaves and trees, earth, sand, objects and things that we have under our sight every day. I rework a single photograph several times, always in a different way, until I get the shapes and colors that I like. We are daily surrounded by the same things. We are so used to their presence that we no longer notice them, we no longer see them; even if our eyes are set on them, we do not notice them and it is as if we do not see them. In the DAILY project I want to represent everyday objects, to decontextualise them, to make them assume their own identity and a new life. GIORGIO GERARDI I have always liked the history of art and around the age of twenty I started my own personal research with the use of the camera. In this last period I have been interested in clouds, leaves and trees, earth, sand, objects and things that we have under our sight every day. I rework a single photograph several times, always in a different way, until I get the shapes and colors that I like. We are daily surrounded by the same things. We are so used to their presence that we no longer notice them, we no longer see them; even if our eyes are set on them, we do not notice them and it is as if we do not see them. In the DAILY project I want to represent everyday objects, to decontextualise them, to make them assume their own identity and a new life. LOCATION Venice ITALY CAMERA/S Canon Eos 550D WEBSITE https://www.giorgiogerardi.com @GIORGO.GERARDI_ FEATURES // Daily

NETHERLANDS NOSTALGIA José Leyenda is an autodidact living in The Netherlands who seeks to capture the nostalgia of the streets and its architecture. NETHERLANDS NOSTALGIA December 3, 2020 INTERVIEW PHOTOGRAPHY José Luis Blach Leyenda INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Nestled in the quaint streets of the Netherlands, lies a talented photographer who has taken the art of capturing moments to the next level. José Luis Blach Leyenda is an autodidact photographer whose passion for photography only started a few years ago when he picked up a camera in a pursuit to capture the charm of architecture and nostalgia of the streets. His commitment to pursue those perfect shots is remarkable and for José, every small improvement in his photography is a win. “I try to let the photography speak by itself or at least give an expression that characterize my photography. Let others judge...It can be a moment a spot or a subject passing by and frame it to make the overhaul an interesting perspective. Freeze the moment!” IN CONVERSATION WITH JOSÉ LUIS BLACH LEYENDA THE PICTORIAL LIST: Jose please tell us about yourself. When did you start getting interested in photography? JOSÉ LUIS BLACH LEYENDA: I have a technical background and work in a Medical Device Company. My interests have always been on Architecture, Interior Design and History (Civilizations). Photography has always been there as a kind of nostalgia of the film days when my father shot on film. About four years ago I went to Japan Tokyo on vacation and bought myself an Olympus OMD EM5 with a 35mm and a telephoto lens 175mm to capture my summer vacation and was curious to experience it through photography. I was a little overwhelmed by Tokyo as a street photography city with all its lights and buzzing streets. I was shooting on full automatic because at that point hadn’t figured out the triangle of photography as well as metering and more technical stuff that I wasn’t at that point much familiar. TPL: Where do you find your inspiration? JLBL: From interior magazines, architecture buildings, museums and by watching the streets and absorbing all kind of fields. I have always been interested in art actually. TPL: Do you prefer to photograph alone or with friends? JLBL: Prefer to shoot alone and concentrate on the street commuters and random people that I find interesting or shooting architecture and trying to find lights and shadows that can add more to it. TPL: Are there any books that you have read that have inspired your creativity and that you would like to recommend to us? JLBL: I live at The Hague in the Netherlands and visit several times the Escher Museum and read the Escher journals by the graphic Dutch artist. TPL: Who are your favourite artists? JLBL: Fan Ho has an amazing style of shooting and I casually got his name from a YouTube channel about photography and Hong Kong that I was following. Life hasn’t no limitations, except the ones you make. TPL: Where is your favourite place to photograph? JLBL: Rotterdam because of its modern architecture...London City for its small streets and alleys against high buildings, the Brutalism buildings and the vibe on the streets...Berlin with its mix of modern and old buildings, museums and also the mixture of pop culture and people...Oporto because of its modern mixed with old...Santiago de Compostela in Spain especially the impressive Gaia’s Center Museum, an architecture masterpiece of multiple buildings and granite shapes on top of Mt. Gaia. By the way, an architecture photography must see. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? JLBL: A few years I wanted to change my Olympus OMD and decided after watching reviews on the Fujifilm X system and was quite excited about its handling with the dedicated buttons and the sensor of the X Pro 1 and the well known film simulations. It's a tool but actually I like the handling very much . I started with a 23mm f2.0 and tried to frame a story and then switched to a 58mm Optic Meyer new lens with a vintage look for street . Now I have a telephoto R mount lens 135mm with an adapter to try minimalistic architecture and experience something different and have another perspective of shooting . TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? JLBL: Improve my skills and find consistency on my work and try to see photography from different angles and perspectives. TPL: “When I am not out photographing, I (like to)… JLBL: Like to read biographies and also about Ancient Rome civilization as visit museums and archeological sites if I am on a short vacations.” José Luis Blach Leyenda is an inspiring example of using photography as a way to capture the nostalgia of the streets and their architecture. His dedication and passion for his craft is worthy of admiration. We encourage everyone to follow José on Instagram and keep track of his journey as he continues to hone his craft. VIEW JOSÉ'S PORTFOLIO Jose's instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

FABRIC OF NEW YORK VISUALS Elle Clarke's passion for street photography has become her healing tool for her lost artistic self, reconnecting her to her city she loves. FABRIC OF NEW YORK VISUALS May 10, 2020 INTERVIEW PHOTOGRAPHY Elle Clarke INTERVIEW Bill Lacey Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Welcome to the world of Elle Clarke, a passionate New Yorker and street photographer who captures the city she loves with her Samsung Galaxy. From her Pentax K1000 SLR of the eighties to her modern mobile phone, Elle's photography has evolved and developed over the years. With a keen eye for beautiful compositions featuring strong shadows and patterns, Elle also has a sensitivity towards capturing people and places in need of comfort and support. Despite the physical challenges Elle faces in her day-to-day life due to Multiple Sclerosis, she continues to use photography as a healing tool and a way to connect with her beloved city. Dive into this interview with Elle Clarke and learn more about her amazing story and how she is creating art every day with her mobile device. “I'm a native NY'er with a illustrative background. I have always worked in the arts and was always the photographer in my family. I learned to use a Pentax K1000 SLR back in the 80s, I have a Nikon DX digital, but all my street photography I do has been solely with my mobile Samsung Galaxy. I struggle with Multiple Sclerosis which derails me at times from my everyday life. When I'm healthy enough to get back to it, my street photography has become a healing tool, connecting me to the city I love and all it has to offer. I will never stop...it's that important to me!” IN CONVERSATION WITH ELLE CLARKE THE PICTORIAL LIST: Elle, could you please tell us when you first became interested in photography? ELLE CLARKE: When I was about 10. I guess with my drawing, even though I can draw Photorealism, taking a photo and making that a true piece of art interested me more. I always had a craving to document everything and everybody around me. TPL: Where do you find your inspiration? EC: I literally can find it anywhere, my kitchen, the neighborhood but especially NYC!! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? EC: I always loved the painter Georgia O'Keefe, but discovered her partner photographer Alfred Stieglitz and his way of making a photo have a painterly feel! And the Russian artist Alexander Rodchenko has greatly influenced me by his use of shadows and patterns, architecture and people. You can throw photographer Paul Strand in there, and printmaker M.C. Escher. TPL: Has your style of photographing changed since you first started? EC: YES! I have become bolder in my compositions and don't care too much of what others might think. I shoot what catches my eye and spirit at the time, without sounding too corny here! 😉 TPL: Where is your favourite place to photograph? EC: Absolutely New York City!!! Always something new even if your on the same street! Creativity is a drug I cannot live without! - Cecil B DeMille TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? EC: No!! Even though I have several manual and digital 35mm's I go out with my mobile Samsung because of its lightness and just blending in with the crowd. What would I say to someone starting? Just shoot everything! Be fearless, don't worry about what anyone thinks! Your eye is unique!!! TPL: What characteristics do you think you need to become a 'good' photographer? What’s your tips or advice for someone in your genre? EC: I think a good characteristic is creativity and patience! Don't get discouraged by anyone! Just shoot what makes you happy! Look at other photographers in your genre and learn, we're never too old to learn. TPL: Have you ever been involved in the artistic world before photography? EC: Yes, I always drew and painted...was an illustrator and worked in the textile industry as a painter. I was that kid at the easel in kindergarten! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EC: Nothing at the moment, but when this pandemic is over...I want to go around my neighborhood and photograph all the old mom-n-pop stores and restaurants before they're gone! TPL: If I wasn't photographing what would I be doing?... EC: Probably losing my mind...ok maybe painting! With her background in design and her eye for composition and design, Elle Clarke has found her own healing tool in street photography. Through her work, she has been able to represent the city of New York in a unique way and express herself in the process. If you would like to see more of Elle's work, you can view her unique photographs through the links provided below. VIEW ELLE'S PORTFOLIO Elle's website >>> Elle's instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I am addicted to light and constantly looking for special moments in everyday life. Even though I love landscape photography and big vistas, the images that resonate most with me are usually the ones showing something that most would consider banal. I try to capture such situations in a way that allows everybody to see what I found special about them. It can be a special angle of light, an unusual juxtaposition or a feeling of solitude in an empty man made landscape; anything that elevates an unspectacular scene to something beautiful, something worth protecting. GABRIEL SOLLBERGER I am addicted to light and constantly looking for special moments in everyday life. Even though I love landscape photography and big vistas, the images that resonate most with me are usually the ones showing something that most would consider banal. I try to capture such situations in a way that allows everybody to see what I found special about them. It can be a special angle of light, an unusual juxtaposition or a feeling of solitude in an empty man made landscape; anything that elevates an unspectacular scene to something beautiful, something worth protecting. LOCATION Dundee SCOTLAND CAMERA/S Sony A7iii, Minox 35 ML, Canon EOS 550D @SOUL_BERGER FEATURES // Topographical Vistas

Born in 1960, Richard Koenig received his BFA from Pratt Institute. In 1998 he received his MFA from Indiana University and began teaching art and photography courses at Kalamazoo College, Michigan. His fine art work, Photographic Prevarications, was shown in six one-person exhibits in as many years (from 2007 to 2012). Koenig's long-term documentary project Contemporary Views Along the First Transcontinental Railroad spawned four articles (between 2014 and 2019). In addition, he published a memoir piece, "Growing Up in a Railroad Vacuum" in Railroad Heritage (in 2017), as well as one on New Mexico's last active semaphores in Railroad History (in 2019). In 2020 Koenig collaborated on a project called Hoosier Lifelines: Environmental and Social Change Along the Monon (1847-2020). A journal article on the history of railroads in Traverse City, Michigan, was published in 2021 (in the Double A) as well as an article on Michigan City street running in the summer of 2022 (Quarterly Newsletter of the R&LHS). RICHARD KOENIG Born in 1960, Richard Koenig received his BFA from Pratt Institute. In 1998 he received his MFA from Indiana University and began teaching art and photography courses at Kalamazoo College, Michigan. His fine art work, Photographic Prevarications, was shown in six one-person exhibits in as many years (from 2007 to 2012). Koenig's long-term documentary project Contemporary Views Along the First Transcontinental Railroad spawned four articles (between 2014 and 2019). In addition, he published a memoir piece, "Growing Up in a Railroad Vacuum" in Railroad Heritage (in 2017), as well as one on New Mexico's last active semaphores in Railroad History (in 2019). In 2020 Koenig collaborated on a project called Hoosier Lifelines: Environmental and Social Change Along the Monon (1847-2020). A journal article on the history of railroads in Traverse City, Michigan, was published in 2021 (in the Double A) as well as an article on Michigan City street running in the summer of 2022 (Quarterly Newsletter of the R&LHS). LOCATION New York UNITED STATES CAMERA/S Nikon D850 WEBSITE http://people.kzoo.edu/~rkoenig/homepage.html @RICHARDKOENIG6644 FEATURES // City As Metaphor

EVERYDAY EXPLORATIONS Vajradhar Acharya is an explorer of the mundane and admirer of common people living their daily lives. EVERYDAY EXPLORATIONS May 13, 2020 INTERVIEW PHOTOGRAPHY Vajradhar Acharya INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Vajradhar Acharya is an Indian photographer with a unique eye for the ordinary. From the hustle and bustle of street markets to the tranquility of rural villages, he has sought to capture the beauty of the everyday lives of people across India. Since relocating to the United Kingdom for university studies, Vajradhar has continued to explore his love of photography, creating stunning images that evoke a sense of nostalgia and wonder. Join us as we explore the world of Vajradhar Acharya, as he describes himself - “a lover of good light and a clicker of pictures”. “I was always a creative person and almost went on to study art professionally. I still love woodworking and painting and they are something that I try to regularly do besides photography, but photography has been my main hobby ever since my dad bought me my first camera for my 15th birthday, six years ago.” IN CONVERSATION WITH VAJRADHAR ACHARYA THE PICTORIAL LIST: Vajradhar, describe your style of photographing to us? VAJRADHAR ACHARYA: I haven't quite managed to get a signature style I can call my own and it is very much in flux at the moment and it does change slightly every day and I look forward to see where it takes me. TPL: Where is your favourite place(s) to photograph? VA: I don't have a favourite place because I haven't travelled a lot, but my home town called Miraj in India and South Bank in London have to be on top of my small list! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VA: My favourite artists have to be Edward Hopper, Van Gogh and Saul Leiter and they have influenced my photography the most along with all the numerous artists I follow on Instagram who have impacted my work in one way or another. I think equipment is important in the sense that it shouldn't hinder your creativity but I find that most modern cameras are pretty good in that regard, so it doesn't matter much. TPL: Have you ever been involved in the arts before photography? VA: I have very much been into art since childhood and painting landscapes with oil pastels has been one of my favourite hobbies for a long time now. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? VA: The current projects I'm working on are called 'Smoking Kills' which is about normal people looking cool when they smoke but at the same time, alluding to the dangers of the habit and 'People on Phones' which is obviously about people busy with their phones and tries to show our relationship with the ubiquitous gadget. TPL: “If I wasn't photographing what would I be doing?... VA: If I hadn't received my first camera 6 years ago, I would very much still be actively involved with woodworking and painting but I'm too busy these days to do either of those and photography is currently my most favoured just because it is much more accessible than either of those.” Vajradhar Acharya has an unique vision that has enabled him to capture the beauty of everyday life in India and now London. His photographs are full of nostalgia and wonder, and his story provides inspiration for budding photographers everywhere. To experience Vajradhar's work in full, connect with him on Instagram and follow his journey as he continues to showcase the world with an eye for the ordinary. VIEW VAJRADHAR'S PORTFOLIO Vaj's instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

Street photography has been a refreshing hobby for me. I am a passionate amateur and love going out and taking photos. Street photography for me is living in the moment and capturing the mundane. I feel that daily life, although boring to people who live it, makes for very interesting photographs. My drive is to constantly improve my photography and become better at it. VAJRADHAR ACHARYA Street photography has been a refreshing hobby for me. I am a passionate amateur and love going out and taking photos. Street photography for me is living in the moment and capturing the mundane. I feel that daily life, although boring to people who live it, makes for very interesting photographs. My drive is to constantly improve my photography and become better at it. LOCATION INDIA CAMERA/S Nikon D5200 @PROBING_REALITY FEATURES // Everyday Explorations

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