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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

A Czech self-proclaimed starting photographer based in Bristol, trying to capture the beauty in every day, the mundane and living in the present. To me, photography is all about emotions and feelings and creating photographs that evoke and reflect the sentiments and feelings of warmth, happiness and memories but also sadness, nostalgia and emptiness. TOMAS CIHAK A Czech self-proclaimed starting photographer based in Bristol, trying to capture the beauty in every day, the mundane and living in the present. To me, photography is all about emotions and feelings and creating photographs that evoke and reflect the sentiments and feelings of warmth, happiness and memories but also sadness, nostalgia and emptiness. LOCATION Bristol UNITED KINGDOM CAMERA/S Panasonic Lumix LX100 @TOMCIHAK FEATURES // Living in the Moment

Started capturing light in 1984. Believes that rust never sleeps, and that we should keep adapting, learning and evolving. Believes in the redeeming power of beauty. Believes that goddesses, muses and nymphs exist to guide the artist in finding a way out of the chaos of his internal labyrinth. Believes that artists should not be defined by the tools they use, but by their work and actions. Believes the artist’s creative fire is only kept alive when they immerse fearlessly into their unconscious. Believes that artists never retire, unless it is for a short while to a house in the woods. Has a double life. By day he lends his energy and knowledge to a training center. By night he drinks from the cup of creation and becomes an alchemist. Works in photography, both digital and analog, video, calligraphy and music. MÁRIO PIRES Started capturing light in 1984. Believes that rust never sleeps, and that we should keep adapting, learning and evolving. Believes in the redeeming power of beauty. Believes that goddesses, muses and nymphs exist to guide the artist in finding a way out of the chaos of his internal labyrinth. Believes that artists should not be defined by the tools they use, but by their work and actions. Believes the artist’s creative fire is only kept alive when they immerse fearlessly into their unconscious. Believes that artists never retire, unless it is for a short while to a house in the woods. Has a double life. By day he lends his energy and knowledge to a training center. By night he drinks from the cup of creation and becomes an alchemist. Works in photography, both digital and analog, video, calligraphy and music. LOCATION Lisbon PORTUGAL CAMERA/S iPhone8 Plus WEBSITE https://mariopires.pt/ @RETORTA FEATURES // Flora Arcana

VIEW OF THE WORLD It is Andrew Rovenko's own personal projects using a film camera that has resonated with many people and has given him the most inner joy. VIEW OF THE WORLD November 28, 2021 INTERVIEW PHOTOGRAPHY Andrew Rovenko INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Andrew Rovenko is a photographer and creative technologist, originally from Odessa Ukraine. Andrew moved to Melbourne Australia more than fifteen years ago, where he now works and lives. Andrew started his family here and shares his life with his wife Mariya, an artist with a degree in theater costume design, and his four year old daughter Mia, Rocketgirl. Andrew's photography journey started close to twenty years ago but its his personal projects using a film camera that has resonated with so many people way beyond his commercial work and has given him the most inner joy. “The best thing about personal projects is that there’s no pressure to make any plans. We’re there on a journey taking one day at a time and seeing where this road might take us.” IN CONVERSATION WITH ANDREW ROVENKO THE PICTORIAL LIST: Andrew please tell us a little about what it was like growing up in the Ukraine, and your transition to Australia. How old were you, and what brought you there? ANDREW ROVENKO: Being born “behind the iron curtain” and having experienced both - the USSR times and what came after its collapse, I think there was this natural thirst of exploring more of the world and seeing what else is out there. And what could sound more adventurous to a 20-something year old, than travelling to the other side of the world to the mysterious land down under...So once such an opportunity came about - this adventure started and then became our new life. 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? AR: I think that would be my granddad’s half frame Chaika (Seagull) Coincidentally, it’s name came from the call sign of the first woman in space, which only now came to my mind after answering this question 😊 I love to experiment with my equipment and have quite a few cameras “on rotation”, depending on what I want to try on a particular day, or bring out one that I haven’t used for a while. 35mm cameras are great for “quick snaps” on the go and I have a few different ones that I like for their different quirks. 4x5 is the best for really slowing down and immersing yourself into each shot, and medium format offers great balance between the two. Which is why I use the medium format Mamiya RZ67 for the Rocketgirl series. With no in-built metering system and manual focus - it makes you just slow enough to avoid mindless snapping, but at the same time it’s portable enough to carry around and much quicker to use than my 4x5 cameras (and anyone who shot with vintage barrell lenses can relate to having a real shutter being alike to cheating, so this camera is almost too easy 😊 TPL: What have the Rocketgirl Chronicles brought unexpectedly to your photography? AR: The ability to see the world just a little bit differently. This is probably the most precious gift to any photographer, and I hope I don’t lose it. TPL: Do you think Rocketgirl has changed you as a photographer, and if so how? AR: Yes, the “view of the world” that became maybe just a tiny bit closer to what it used to be when I was a kid. *Editor's note - Read about the Rocketgirl Chronicles here on the website via link below. TPL: What have been some of your most memorable moments as a photographer? AR: It’s a very hard one to answer, as “carrying memory” is the inherent property of every photograph, and when I look back at many photographs - they bring back places, people and experiences of that moment. And with each such moment being an equal part of life - I really couldn’t single out even just a dozen from over 20 years of making memories 😊 TPL: What are some tips or advice you would give yourself if you started photography all over again? Not taking pictures is just as much (if not greater) part of photography as taking them. TPL: Do you see differently now, than you did when you first started out in photography? If so, define that new vision. AR: Different styles of photography require different vision. As many new starters, I focused way too much on technicalities of the craft. I used to look at “locations” and “lighting” and “subjects” and consider how well they look/work together, whilst the single most important question now is - what will this image say to the viewer. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? AR: Oh, that’s an impossible question. Every decade since the invention of photography has been represented by many inspirational masters that I admire for different reasons, from Prokudin-Gorsky who pioneered the colour process and produced amazing documentary work, to the famous Weegee whose journalism photography is just incredible (and who was born in what’s now Ukraine), so my head starts hurting even if I just start scratching that surface. TPL: If you could choose just one photographer to shoot alongside for the day, who would you choose and why? AR: It would have to be Sally Mann, at the time of her “Immediate Family” work. Being able to portray such artistic, but at the same time raw and honest stories with her children, not mentioning the equipment that she used - just beyond comprehension, and being able to observe how such magic was created would have been very special. TPL: Besides your spots you photograph for Rocketgirl Chronicles, what are some of your most favorite spots you find inspiration to explore through your photography, and what draws you there? AR: This is very cliche, but the sea is always a magnet. And it’s not really photography wise, as it’d probably be one of most explored themes out there, but just personally. The sea is always the same and never the same, which makes it an endlessly interesting subject for personal studying. TPL: Other than Rocketgirl, are there any other photographic projects you are working on, or have planned in the near future? Where do you hope to see yourself in five years? What do you hope for Mia in five years? AR: The best thing about personal projects is that there’s no pressure to make any plans. We’re there on a journey taking one day at a time and seeing where this road might take us. The Rocketgirl chronicles were never planned, and it happened to be the most enjoyable experience so far, so the only plan at this stage is not to make plans 😊 TPL: When you’re not out photographing, or commanding mission control for Mia, where do we find Andrew Rovenko...what would he be doing? AR: That’d be the laundry, developing fresh rolls or at my desk scanning the results of our latest adventures. There are also a couple of old motorcycles sitting neglected in the garage and patiently waiting until I can pay them some attention, but I don’t think they have much hope any time soon. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

PICTORIAL STORY THE STRANDED PAKISTANIS Anwar Ehtesham invites us into the heart of the Bihari community. His photography captures the raw beauty of life shaped by adversity — offering a rare glimpse into the intimate connection between people and the environment they call home. October 11, 2023 PICTORIAL STORY photography ANWAR EHTESHAM story ANWAR EHTESHAM SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For centuries people have moved from one part of the world to another in search of a better life. Unfortunately, in some cases these journeys have ended with the unfortunate individuals becoming stateless and with no hope for a better future. This is the sad story of the Biharis, or Urdu-speaking people, who have been stranded in Bangladesh for almost five decades and are now a forgotten population of over 300,000. This population has been denied their chance at a decent life due to political unrest that has crippled their country of origin. They are a people without a nation, and their struggles remain largely unheard. The Geneva Camp, also known as the Bihari Camp, is a symbol of the history and culture of these people. In pre-independence India, they were a Muslim minority in the region of Bihar. When the partition occurred in 1947, many of them moved to what was then East Pakistan. After a civil war between East and West Pakistan broke out in 1971, these Biharis sided with West Pakistan, and subsequently East Pakistan became an independent state of Bangladesh. Despite having been loyal to Pakistan, they were denied citizenship, and as a result they have been rendered virtually stateless and abandoned, labeled as Stranded Pakistanis . Between 1974 and 1992, approximately 175,000 Biharis were relocated to Pakistan. For over 40,000 people packed in an area slightly larger than an acre, Geneva Camp continues to be their home. Finally, in 2008, a court in Bangladesh granted citizenship to all of the camp's residents born after 1971. The national identification cards they received gave them voting rights. However, this did not mean that their lives had improved very much, and they still lacked basic rights such as passport acquisition and access to employment opportunities or even public schools. This has left the Biharis stuck in a never-ending cycle of displacement and poverty. In the scope of my photo documentary, I place a strong emphasis on portraying the intricacies of their daily lives, shedding light on the conditions they inhabit day to day, and delving into the diverse range of professions they engage in to make a living. However, a particularly noteworthy aspect of my project centres around casting a spotlight on the children residing within the camp. These young individuals, children of Bihari parents yet born as citizens of Bangladesh, hold a unique position that intricately weaves together their historical background and their present circumstances. By focusing on these children, I aim to provide a multifaceted and comprehensive narrative that captures the essence of their experiences and the broader context of their lives within the camp. The conditions in the Bihari camps of Dhaka are dire, with houses that are usually no larger than 2.4m by 2.4m (8ft by 8ft), separated by 61cm wide passageways that are shared by the residents, goats, and chicken. To make space for possessions, beds are often raised up above the floor. When it rains, the camp floods, including the toilets, and the floors are weak and prone to crumbling due to gaps in the walls and under stairways. Additionally, electrical lines hang in webs above the hallways, frayed and in a state of disrepair. It is a heartbreaking story that has been largely forgotten in today's turbulent times. Yet it is a reminder to the world of how tragedy can befall any group of people in a matter of years, leaving them virtually stateless and without a voice. © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham Anwar Ehtesham's photo documentary shines a light on the almost forgotten plight of the Biharis, a population that has been denied their chance at a better life due to political unrest in their native country. His work captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of both the lives of the Bihari people and their relationship with their environment. His photographs take us on a journey, exploring the unique stories that make up this forgotten population and immersing us in the struggles of those living in the Bihari camps of Dhaka. We must continue to tell the story of these people and raise awareness of their plight. To learn more about Anwar and his work, we encourage you to visit his social media. view Anwar's portfolio Read an interview with Anwar >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

TRANSITORY LIFE Being able to tell a story and transmit how transitory life is through a photograph was revealing for Jose Manuel Castañeda Castillo. TRANSITORY LIFE May 6, 2021 INTERVIEW PHOTOGRAPHY Jose Manuel Castañeda Castillo INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the bustling energy of the streets of Mexico City, one man stands out among the hustle and bustle, armed with his camera and an ever-present eye for the beauty of the transience of life. For Jose Manuel Castañeda Castillo, street photography is his passion, and since his chance discovery of this artform two years ago in New York, he has been using it to capture unique perspectives of everyday life, as well as to tell powerful stories of fleeting moments. Through his photography, Manuel looks to highlight the subtleties of life that often go unnoticed, to showcase the artistry of the mundane and to immortalize those moments that otherwise might have been forgotten. His latest project, ‘Ephemeral’, showcases his signature style of capturing emotion in each photograph. It is a celebration of life’s precious moments, something that has become especially important during a time when we have all had to slow down and look at the world differently. In this interview, we talk to Manuel about his work, his approach to street photography, his project ‘Ephemeral’ and the unique way he tells stories through his photographs. A journey through the streets of Mexico City with Jose Manuel Castañeda Castillo is a surefire way to be captivated by the beauty of our everyday lives. “I was born in Mexico City, living in that city for 15 years, now I currently live in San Luis Potosí. I am a fan of black and white street photography, a lover of art in general. My interest in photography arose suddenly and out of curiosity during a vacation in New York in 2018, I was in the Grand Central Terminal and I saw a group of people with cameras, I approached out of curiosity and they asked me if I was in the workshop, which turned out to be about street photography. Clearly I was not in that workshop but they invited me, and I participated with just my cell phone...from that moment on it seemed like a revealing experience, seeing how each of the photographers had such a different way of appreciating and interpreting what was happening in front of them. I liked it so much that I decided to buy my first camera.” IN CONVERSATION WITH JOSE MANUEL CASTAÑEDA CASTILLO THE PICTORIAL LIST: Manuel, what do you want to express through your photography? What are some of the elements you always try to include in your photographs? JOSE MANUEL CASTAÑEDA CASTILLO: Today, everyone is striving for perfection, which means that the blemish is disappearing, especially on social media, making it even more interesting to show the blemish. Without this, we would end up with a wrong view of ourselves and the world, that everyone is happy and feels good. If people feel something when they see my photos, and maybe reflect on things, then it is worth everything to me. I always try to isolate the main subject of the entire scene, where the face is not fully visible and so that details such as their clothes or accessories stand out from the rest and remain open to the personal interpretation of whoever sees the photograph. I don't worry about composition, for me it is better to have an interesting subject before any composition rule. TPL: Tell us more about your series EPHEMERAL. JMCC: This series EPHEMERAL is about Ignacio Rangel, an enigmatic piano teacher in the region, very dear, I wanted to capture the very meaning of the title of the series, all our lives we are not aware of how fleeting and momentary life is, until we are done...how beautiful and cruel time is, it can give or take away everything in the blink of an eye, from the company, loneliness or emptiness that can be your environment when you no longer have anything, but also It makes you see who really cares about you at all times. The series had to be improvised, because in reality it would not be anything similar to how it turned out, due to the professor's medical issues and the current pandemic, I could only be at his house for 10 minutes. I would like the viewer to see these photographs, feel that they are present in that room and think that the person who is in that bed, prostrate, whether happy or sad, might be them tomorrow, and they may become aware of the time they really have. TPL: Where do you find inspiration? Do you have any favourite artists and photographers? Talk to us about your printing series about your favourite photographers on IGTV. JMCC: I usually watch many documentaries about iconic photographers of all times, see how their work evolves, how they interact with people, the great travels they undertake to get a photograph, it inspires me ...but ultimately, many of the people I've met relatively recently are friends of mine, they inspire me every day. My list of favourite photographers is very long, from Graciela Iturbide, Vivian Maier, Isabel Muñoz, Manuel Álvarez, Cartier B, Sebastiao Salgado, Gerda Taro, etc. My series on IGTV is to make prints of the photographs of my favorite photographers, they are friends of mine who, in addition to my admiration for their work because it is wonderful, have been crucial for my learning. Unfortunately for time reasons I cannot do as many as I would like, but I still have more to be done. The quarantine gave me the time to learn many things, among them different quite old alternative processes to printing a photograph, which give amazing and special results, because they are unique pieces and no two are alike. TPL: Do you have a favourite place to go photograph? JMCC: I don't have a favourite place, but I love big cities, they are a challenge for me, because among so many people who want to be different, finding someone who genuinely stands out is difficult. The small city in which I live has given me many surprises that I did not imagine finding, and they have an important value for me and nowhere else would I have done something similar. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? JMCC: In the USA, photographing "looking like a tourist" is definitely easier, but when you don't look like it, it's complicated and it's something I have to deal with here in Mexico, people get scared, no matter how friendly you seem, they always think of the worst, but I've learned to read the environment and know when it would not be a problem, because I do not like to hide that I am taking a photo. If people feel something when they see my photos, and maybe reflect on things, then it is worth everything to me. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? JMCC: I only photograph what captures my attention, it can be good or bad, but if it is interesting for me, I take the photo. I do not come up with ideas in particular, but I look for something interesting in a small part of light, I always walk without stopping, trying to capture that fleeting moment, just as life itself is, in that way it is more real for me... I do not stand in a place waiting for something to happen, at least for me, it does not make sense. 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? JMCC: Totally, more than the performance of the camera, I feel comfortable and I like it. Fujifilm makes beautiful equipment and the experience you get is fantastic that in my opinion no other brand has. I use a Fujifilm X-T1 with the 35mm f2 lens, so portable and small, you can easily take it anywhere. I also use an analog camera, the Rollei 35, another very beautiful, interesting and peculiar camera to use. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? JMCC: I would like to do exhibitions in at least one city on each continent, I would love to have a printing laboratory for personal use and special orders for those who want unique pieces and dedicate myself to photography completely. In the next 5 years I see myself making long trips for future projects and keeping my peculiar way of seeing reality. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JMCC: Yes, I have two photographic projects but I postponed them due to the pandemic, but my current project is to improve and learn alternative techniques to print my own photographs in Gum Oil, Carbon Transfer and Platinum Palladium. TPL: "When I am not out photographing, I (like to)… JMCC: I actually enjoy the simple things...riding my bike, listening to music and watching a series or movie." PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

LET THERE BE LIGHT Kevin Icabales' love for humorous and candid moments led him down the path to street photography. LET THERE BE LIGHT March 3, 2020 INTERVIEW PHOTOGRAPHY Kevin Icabales INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Whether it's capturing candid moments or telling a unique story, Filipino street photographer Kevin Icabales has a style all his own. With a bit of tongue-in-cheek humour, he has been able to capture a scene in a way that only he can. In this interview with Kevin, we ask him about his journey into street photography and what motivates him to pursue such unique and creative photography. From his beginnings to his current success, we explore the art of candid photography through the lens of Kevin Icabales. And God said, let there be light, and there was light. - GENESIS 1:3 “Photography is all about light. Seeing and experiencing the wonders of His creation urges me to see beyond what I cannot do. I know that I can be creative because He created me in His own image and likeness.” IN CONVERSATION WITH KEVIN ICABALES THE PICTORIAL LIST: Kevin, can you start off by telling us about how you first became interested in photography? KEVIN ICABALES: I started photography after I graduated from college. My twin aunts bought me a DSLR for a graduation gift. I started shooting weddings and concerts. I realized that I love taking pictures of decisive moments or candids. That passion led me into street photography and I knew where I was called to do. TPL: Where do you find your inspiration? KI: I find my inspiration from my family, when I let them evaluate my work, and also, how they will respond emotionally towards my photos. Also, seeing the viewers change their ways and making them reflect their lives from my photographs makes me eager to continue doing so. TPL: Has your style of photographing changed since you first started out? KI: My style of photographing has changed a lot when I started street photography. I am more aware of what to put and exclude inside my frame. It is like making music with lots of scales in your mind, then eventually you will pick the best melody that works. For me, this genre should be the start of all aspiring photographers. You will not just learn the technical stuff but also it will build your character as well. TPL: Where is your favourite place to photograph? KI: My favorite place to shoot is around metro Manila in the Philippines. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? KI: I believe that an equipment can never outdo what your vision wants to create. These are just mediums of your creation. Let us break the mindset that says, "You take good pictures because you have an expensive camera". You cannot say that "the food is delicious because the stove is expensive", same goes with photography. If you have the means to buy higher equipment, then go for it. But always remember that the best camera is the one that you have at the present time. I find my inspiration from my family, when I let them evaluate my work, and also, how they will respond emotionally towards my photos. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone in your genre? KI: Always be strong and humble. Be a man or a woman of integrity because it all starts there. Be open and accept constructive criticisms towards you and your works. Meet new like-minded people, build rapport and inspire one another because each of you is a unique individual. TPL: Have you ever been involved in the artistic world before photography? KI: I was inclined to music before photography. I was a guitar and vocals in our rock band when I was in college and I also write songs. TPL: Do you have any favourite artists or photographers you would like to share with us? KI: My favorite photographers are Henri Cartier-Bresson, Robert Doisneau, Garry Winogrand and Elliott Erwitt. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KI: I am currently working on an Ad Gone Wrong project. I'll let you know once available. TPL: "If I wasn’t photographing what would I be doing?... KI: Singing and songwriting." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am a Franco-British photographer currently living near Reims in France. I started out photography back in the early 80’s after reading French literature at University. In my early days, I mostly tried to capture street type pictures, in London, where I was living at the time. I was hugely influenced by some of the top documentary photographers at the time such as Don McCullin, W. Eugene Smith, Elliot Erwitt, Bruce Davidson, Henri Cartier-Bresson, and spent my time wandering the streets looking for pictures. I quickly realised if I was to work in photography, I would have to move into more general photojournalism. Thus, from the mid 1980’s, I started working for a number of newspapers and agencies in London, before joining Reuters News Agency as a staff photographer in Paris in 1987. Here I covered many local and international stories for over 15 years. Since leaving Reuters, I have started to shoot my own long-term projects, documenting the region in France where I live in black and white. GARETH WATKINS I am a Franco-British photographer currently living near Reims in France. I started out photography back in the early 80’s after reading French literature at University. In my early days, I mostly tried to capture street type pictures, in London, where I was living at the time. I was hugely influenced by some of the top documentary photographers at the time such as Don McCullin, W. Eugene Smith, Elliot Erwitt, Bruce Davidson, Henri Cartier-Bresson, and spent my time wandering the streets looking for pictures. I quickly realised if I was to work in photography, I would have to move into more general photojournalism. Thus, from the mid 1980’s, I started working for a number of newspapers and agencies in London, before joining Reuters News Agency as a staff photographer in Paris in 1987. Here I covered many local and international stories for over 15 years. Since leaving Reuters, I have started to shoot my own long-term projects, documenting the region in France where I live in black and white. LOCATION Reims FRANCE CAMERA/S Fuji Xpro 1 & 2 WEBSITE http://www.gwenllyn.com/ @GARETHWATKINS02 FEATURES // Les Francais

My primary body of work is colour. The choice of colour is always part of the composition, setting the mood, the atmosphere, a complement to the story, strengthening and providing depth to the narrative. Red is one of my favorite colours, I’m naturally drawn to strong and saturating hues. Red for me conveys strong emotions, and builds character. It's indisputably powerful, it’s full of passion, it’s provocative, full of love, embodies strength, sensuality, but also seeds anger, war, conflict, blood. It’s the opposite of neutral, sweetness, indifference. When I see in red, I’m sculpting the way the viewer reads the image. I'm inviting the viewer to immerse themselves into the deepness of sensations and emotions that red unlocks. Red is to be wrapped up in the emotional whirl and in charge of the capture to reflect the intensity in the moment. I'm also being provocative by driving an emotional response. Red helps to strengthen the subject, empowering the dynamics of the scene. VALERIA CUNHA My primary body of work is colour. The choice of colour is always part of the composition, setting the mood, the atmosphere, a complement to the story, strengthening and providing depth to the narrative. Red is one of my favorite colours, I’m naturally drawn to strong and saturating hues. Red for me conveys strong emotions, and builds character. It's indisputably powerful, it’s full of passion, it’s provocative, full of love, embodies strength, sensuality, but also seeds anger, war, conflict, blood. It’s the opposite of neutral, sweetness, indifference. When I see in red, I’m sculpting the way the viewer reads the image. I'm inviting the viewer to immerse themselves into the deepness of sensations and emotions that red unlocks. Red is to be wrapped up in the emotional whirl and in charge of the capture to reflect the intensity in the moment. I'm also being provocative by driving an emotional response. Red helps to strengthen the subject, empowering the dynamics of the scene. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm XT4, Fujifilm XT20 @VALERIA_RIBEIRO_CUNHA Black and White With a Thread of Red

FRAMING GEOMETRIES Rouven Kurz is a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of framed geometries. FRAMING GEOMETRIES March 17, 2020 INTERVIEW PHOTOGRAPHY Rouven Kurz INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As one wanders through the chaotic hustle and bustle of an urban metropolis, it can be difficult to make sense of the isolated individuals, the concrete structures, and the light and shadows that craft a unique atmosphere. For Rouven Kurz, a street photographer from Cologne, finding beauty amidst the chaos is an art form — one that he captures in dynamic black and white and vivid color photographs. With an eye for the unrepeatable moments when geometry, light, and random movements of strangers come together to form a harmonious composition, Rouven invites viewers to enter into his world of light and shadow and to imagine their own story. “By accident, I won a digital compact camera with an astonishing five point one megapixels when I was a teenager back in the early 2000’s. After literally annoying everyone around me I developed a knack for framing geometries.” IN CONVERSATION WITH ROUVEN KURZ THE PICTORIAL LIST: Rouven, where do you find your inspiration to create your photography? ROUVEN KURZ: In my notebooks, where I collect everything that comes along my way. Being it interesting spots I’ve seen, pictures I love, thoughts that would fly away too fast, news that move me, movies with remarkable cinematography, snippets of discussions. My key is to groom this list over and over to refine ideas, strike items from that list, find connections between separate things. TPL: Has your style of photographing changed since you first started out? RK: Among others I can recall two major changes compared to my first thousand-something pictures. The first one is more a process where I get better and better to visualize the final image before I click the shutter. The second change was enforced by me in order to get the pictures I want. It was becoming less anxious to get closer to strangers in the streets. TPL: Where is your favourite place(s) to photograph? RK: My home turf...Cologne in Germany. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RK: Saul Leiter for his almost painterly use of colors. Paola Franqui-Monaris for her storytelling and superb color grading. Brandon Stanton for his impressive portrait of New York's folk. Sean Tucker for his inspiring content beyond ace photography. Alan Schaller for his bold minimalism. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? RK: Equipment is a tool that helps you get there. While this sounds incidental, the right equipment is of great importance for me. The more natural it feels in your hands, the more you can focus on what’s in your mind and in front of your lens. My tip for starters is to spend more budget on photo books, prints, exhibitions and workshops than on the camera. If you engage deeply in photography and develop your own vision and train your photographic muscle, you will find the right equipment eventually. The tools will help you realize your vision, they will not create your vision. Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies. - Diane Arbus TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? RK: Curiosity, if I have to name one. When doing portraits you should work more with your model than with your camera. What makes this person special? What do you and your model want to portrait? In street photography you should curious about the people and your surroundings. The street always delivers. It’s up to your mind what you’re going to discover. TPL: Have you ever been involved in the artistic world before photography? RK: Nay, I’m pretty untalented in other art forms. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? RK: I am still so excited about the birthday present my wife gave me. She has organized a gallery that will exhibit my work this summer. TPL: "If I wasn’t photographing what would I be doing?... RK: I would see the world differently, I wouldn't recognize all the beauty and peculiarities in the ordinaries." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

Born 1961 in Germany, and living in Spain since 1999, I have been taking photographs since 1980, which at that time of course, it was still analogue. In the 90s I studied art and music with a focus on photography and land art. Since 2005, I have been photographing digitally, first in landscape photography, then, due to my job as a chef, in food photography. This developed into a kind of storytelling and I invented a Mallorca photo blog with photographic views from the island, off the mainstream type of photography. There I was already doing street photography without really knowing anything about it. Then in December 2017, I took a picture in Stockholm on the street and a person ran through my picture! With adrenalin I pressed the shutter and didn't know what had happened. It was clear that the picture got a completely different meaning and I started to photograph further in this direction. This was now my thing! Then I did some research and have since learned about street photography. I study everything that has to do with it and develop myself further. Since 2021, I have been on the road professionally, giving workshops and have been lucky enough to have had some of my pictures awarded internationally. JENS F. KRUSE Born 1961 in Germany, and living in Spain since 1999, I have been taking photographs since 1980, which at that time of course, it was still analogue. In the 90s I studied art and music with a focus on photography and land art. Since 2005, I have been photographing digitally, first in landscape photography, then, due to my job as a chef, in food photography. This developed into a kind of storytelling and I invented a Mallorca photo blog with photographic views from the island, off the mainstream type of photography. There I was already doing street photography without really knowing anything about it. Then in December 2017, I took a picture in Stockholm on the street and a person ran through my picture! With adrenalin I pressed the shutter and didn't know what had happened. It was clear that the picture got a completely different meaning and I started to photograph further in this direction. This was now my thing! Then I did some research and have since learned about street photography. I study everything that has to do with it and develop myself further. Since 2021, I have been on the road professionally, giving workshops and have been lucky enough to have had some of my pictures awarded internationally. LOCATION Mallorca SPAIN CAMERA/S Fujifilm X100v, Lumix GM5 WEBSITE http://www.jfkstreetphotography.com @JFKSTREETPHOTOGRAPHY FEATURES // Stories in Garbage Fragments of Time

I am a freelance photographer shooting mainly in St. Petersburg and the North-West Region of Russia. My first camera was a Soviet 'Smena', given to me by my father in school years. Since then, my passion for photography has flared up, then faded, and has become my undying passion already at a much more mature age. Recently, I have been shooting more and more on monolens, a very special lens that allows the viewer to go beyond the frame, leaving space for the imagination, and bringing us back to our past or our dreams. OLEG KOLIMBET I am a freelance photographer shooting mainly in St. Petersburg and the North-West Region of Russia. My first camera was a Soviet 'Smena', given to me by my father in school years. Since then, my passion for photography has flared up, then faded, and has become my undying passion already at a much more mature age. Recently, I have been shooting more and more on monolens, a very special lens that allows the viewer to go beyond the frame, leaving space for the imagination, and bringing us back to our past or our dreams. LOCATION St.Petersburg RUSSIA CAMERA/S Canon 60D WEBSITE http://olegkolimbet.com/ @OLEG_KOLIMBET @OLEG_KOLIMBET FEATURES // Beyond a Dream