Creative and experimental, always attentive to new artistic proposals in his environment, Lorenzo develops the aesthetic sense of his works by combining classic elements and innovation. He pays particular attention to shapes and materiality. He frames his work by him in a conceptual discourse with a marked tendency towards formal research. LORENZO VITALI Creative and experimental, always attentive to new artistic proposals in his environment, Lorenzo develops the aesthetic sense of his works by combining classic elements and innovation. He pays particular attention to shapes and materiality. He frames his work by him in a conceptual discourse with a marked tendency towards formal research. LOCATION Milan ITALY CAMERA/S Canon EOS R5 WEBSITE https://www.lorenzovitalifoto.it/site/ @LORENZOVITALIFOTO FEATURES // The Memory of the Female Body An Arrhythmic Succession Of Interrupted Pauses Sahara: The Shape And The Shadow They Have Gone

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

QUARANTINE IN QUEENS Neil Kramer tells stories with his photos, writing, and films. Simultaneously humorous and compassionate, his lockdown diary has gone viral. QUARANTINE IN QUEENS August 30, 2021 INTERVIEW PHOTOGRAPHY Neil Kramer INTERVIEW Karin Svadlenak Gomez Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Neil Kramer tells stories - with his photos, writing, and films. Humorous and compassionate at the same time, he tackles themes taken directly from human life - including his own. When he found himself locked into a small apartment in Queens, New York, with his mother and ex-wife during the still ongoing Covid-19 pandemic he ended up making the best of the situation: he turned it into a quirky and humorous photo project. His posts of portraits showing the family in often strange situations went viral on social media platforms and have been widely featured on television and in newspapers, and won many awards. We are honoured that Neil agreed to an interview for The Pictorial List, in which he talks to our editor Karin Svadlenak Gomez, about his project QUARANTINE IN QUEENS and how he and his family have been dealing with the pandemic. “During the early days of the pandemic, it became impossible to do street photography, so it seemed natural to start taking photos of our lives inside the apartment. At the time, Queens, NY was the epicenter of the pandemic in America, and it was scary. Taking the photos became a collaborative way of using art as self-therapy, much in the same way that others started baking bread or knitting sweaters. And because I had some experience in comedy writing in California, I tended to gravitate towards the humor of the situation, at least at first.” IN CONVERSATION WITH NEIL KRAMER THE PICTORIAL LIST: Neil please tell us about yourself. When and how did you become interested in photography? NEIL KRAMER: I’ve always loved photography, but I’ve had more of a career as a writer. I lived in Los Angeles for several years, writing and developing scripts for TV and movies. I also attended film school at USC where I studied film production. I began to fully immerse myself in still photography when I moved back to New York and got hooked on street photography. TPL: How did it happen that you ended up in quarantine with your ex-wife and mother? NK: It’s a complicated story, but let’s just say that I was living in my apartment while my mother was in Boca Raton, Florida, but she decided to come back after her lease expired. At the same time, my ex-wife had a plumbing disaster in Los Angeles and she had to move, so she asked if she could stay with me for a few weeks. And then the pandemic happened, and we all got stuck together. And we are still together in this rather tiny apartment with only one bathroom, trying to figure out our next step. TPL: What triggered the idea for this photo project? And what did your ex-wife and mother think when you presented them with this project idea? NK: During the early days of the pandemic, it became impossible to do street photography, so it seemed natural to start taking photos of our lives inside the apartment. At the time, Queens, NY was the epicenter of the pandemic in America, and it was scary. Taking the photos became a collaborative way of using art as self-therapy, much in the same way that others started baking bread or knitting sweaters. And because I had some experience in comedy writing in California, I tended to gravitate towards the humor of the situation, at least at first. My ex-wife and mother already knew that I always had wacky creative ideas, so they were comfortable in playing along. But as the project got more followers on Instagram and we got some media attention, such as in the Washington Post and the Today Show, it became a little more difficult in dealing with the attention. The series was never intended as a project. It just happened, without a plan. I never expected this pandemic to go on for over 500 days! Usually the daily post was based on a real life experience, which we would restage later in the day when we had more perspective and time. April 12, Quarantine in Queens, Day 31. A beautiful friend from Colorado finally mailed us toilet paper and we are celebrating and in tears. November 6, Quarantine in Queens, Day 233. Months ago, when the pandemic started, I gave my bed to Sophia, and I've been mostly sleeping on the old sofabed in the living room. The mattress sucks; it sags and creaks. During the last few weeks, I've been having bad dreams at night about the current President of the United States. Today, Sophia surprised me with a new sofa bed. It's a perfect day for it to arrive seeing how the election results are in. I hope to have fewer bad dreams now for two reasons - a better mattress and the end of a national nightmare. May 20, Quarantine in Queens, Day 70. One of the arguments for not wearing a mask outside is that it is a free country. To many, asking someone to be inconvenienced is an infringement of personal freedom. If someone is at risk to the virus, like seniors or those with medical issues, they should just stay home. ⁣That is easier said than done. After months ago home, it becomes an infringement of personal freedom for seniors and those with medical issues to be stuck at home. ⁣After our trip to the park last week my mother tasted the flavor of freedom, and she liked it. ⁣My mother's friend, Shirley, called. She used to be the same blouse size as my mother, but because of an illness, had lost a lot of weight. She had a bunch of brand new outfits from Bloomingdale's that she never wore that were now too large. Can she drive over and give them to my mother?⁣ At first, Sophia and I nixed the idea. My mother bristled at out helicoptering. We came up with a compromise. I would go downstairs and pick up the blouses from Shirley as she drove by in her car. ⁣When it was time for Shirley's arrival, I found myself on an important zoom conference call. Sophia was about to have a virtual conversation with a doctor at NYU. We were forced into the inevitable - my mother would have to go downstairs ALONE and pick up the blouses. It would be the first time she's left the house alone since March. ⁣"What's the big deal?" some of you might ask. My mother is active and independent, and can go outside by herself. She's not a child. But there are a lot of people out there who don't wear masks, even in our neighborhood with one of the highest Covid-19 infection and death rates in the world. ⁣We told my mother that if she goes out by herself, she has to wear a mask, gloves, and goggles to protect her eyes. ⁣"Why don't you just wrap me in the shower curtain?" my mother asked, sarcastically. June 13, Quarantine in Queens, Day 91. I've now spend three months alone with little outside contact other than these two women. You would think that this femininity would be rubbing off on me. Maybe it has. I mean, in many of my photos, I've been the one either undressed or wearing a dress. But in reality, over the last three months, I've never felt a stronger sense of masculinity and responsibility for these two people, probably the two most important women of my life - my mother and ex-wife. December 28, Quarantine in Queens, Day 286. My mother has always been more of a canned vegetables type of cook. She also makes a great tuna fish sandwich. Sophia is a gourmet cook and has been spoiling us for months with delicious exotic meals and freshly baked bread. My mother also found a new kitchen-related passion -- she has become obsessed with keeping the kitchen clean, even constantly checking the oven to see if anything was left behind. Maybe this pandemic turns everyone OCD. This has created some tension in the house lately between the two women. This kitchen is not big enough for both of them. Luckily, I know how to diffuse any situation. When our old fridge finally died last week, I ordered a new one, not realizing that I bought a model where the door handles were on the wrong side. So now, no one can open the fridge or the oven! Problem solved. November 26, Quarantine in Queens, Day 253. Thanksgiving, 2020. If there is one public event that I love in New York it’s the Macy's Thanksgiving Day Parade. So, we were disappointed when we found out that this year was going to be a TV-only parade because of Covid-19. But then Sophia had an idea. We could buy some big animal balloons on Amazon and then parade around our living room, making our own special Thanksgiving Day event! We received the balloons from Amazon, and this morning, all we had to do was blow them up. We saw online that the Party Store would inflate balloons not bought in the store for a fee, but when we got there, we were told that the new policy was prohibiting them from touching any balloons not bought at the store, because of the pandemic. We called the dollar store, the florist, the stationery store, and the hookah store, but they all refused for the same reason. Our plans were falling apart. Who wants to do a parade with droopy balloons without any helium? Was this another casualty of the pandemic? This is when Sophia remembered the Halal supermarket where she bought "loosies," when no one else would sell us anything but a $20 full pack of cigarettes for a photo shoot we did recently. Would they also be able to blow up our balloons during this parade crisis of ours? Thank you, Halal Supermarket, for making our Thanksgiving Day a special one. You just made America great again! January 31, Quarantine in Queens, Day 320. Every day, my mother is doing physical therapy to heal her hurt shoulder, meaning she is the only one in this household doing any exercise. She's actually quite amazing. In two weeks, she gets her second vaccine. We have even nicknamed her "The Thunderbolt." It is also, according to some sources, the name of her top-secret space laser that she will soon launch to cause more wildfires in California. TPL: The images are quite humorous - does this reflect how the three of you took the entire situation? How much truth is there in these pictures? The humor in the photos was one of the most confusing aspects of the project. The humor is funny, of course, but it was frequently a coping mechanism to express our own anxieties, and even though some of the shots are over-the-top, they were pretty serious. I think the best humor comes from a real place. This is a question I get asked a lot, and the best way to answer it is to say “it is true to me.” I'm not a journalist, and the shots are staged in a theatrical manner, but they are all based on truth. My mother did walk in on me when I was in the bathtub, but the photo is a dramatization of the moment which is better composed and lit by speedlights. TPL: How did it feel for you to become part of the picture? As photographers we are usually behind the camera, most of us are a bit "camera-shy". (Of course there are exceptions, some photographers choose to make a lot of self-portraits.) NK: Over the last seventeen months, I have taken so many self-portraits, including ones where I am naked, and I have no idea where this side of me was before. I rarely took self-portraits before the pandemic. I don’t have much interest in myself visually. Probably the real reason for so many self-portraits is that it is hard to motivate your impatient family for so many months without them getting pissed at you, so I decided to take more self-portraits because I knew I was always available at 3am. TPL: Now that a degree of normalcy seems to have returned to life in New York City, do you have a different appreciation of life? What are some of the things you missed especially during lockdown? NK: It’s funny how things so quickly change. If you asked me these questions two weeks ago, I would have a different answer. Now all of a sudden, the Delta variant is here, and some countries are going back into lockdown. NYC has achieved some level of normalcy, and the greatest gift is seeing friends again. But it's summer now, and we can all meet outside. I’m worried about the fall and winter months, even if we are vaccinated. What we say, what we do, and what we think can all be different, even when confronted with the same situation, and I like to show the contrast between what I show and what I think. TPL: We read somewhere that you are a member of Photographers Under Confinement: Engaging Corona Around the World. What does this association do, and how many members does it have? NK: It’s a Facebook group consisting of hundreds of photographers from around the world, all sharing their pandemic photos on social media. The pandemic has almost become an artistic category nowadays, and there are competitions of Covid-19 related photos. For me, the group was more special - a way to see that this pandemic was truly international. That none of us was alone. This world is so small, and interconnected. It didn’t matter if you were in America, Africa, Asia, or wherever, you had a pandemic story. TPL: In general regarding your photography, where do you find your inspiration to create? NK: I feel that I am a storyteller. I always loved stories. Even reading stories as a child. And photography is a great way to tell stories. At the same time, I do feel that photography can be limited in what it can express. That’s why I usually include text with the photo, which I think are equally as important. I don’t feel that it is “cheating” but a way to tell a fuller picture of myself. What we say, what we do, and what we think can all be different, even when confronted with the same situation, and I like to show the contrast between what I show and what I think. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NK: Photographers I love: Diane Arbus, Nan Goldin, and Richard Avedon. Currently, I am inspired by the humor of Martin Parr and the intimacy of Elinor Carucci. April 6, Quarantine in Queens, Day 385. "I feel like we're in limbo," said Sophia, as we watched Murder She Wrote with my mother. "We're all vaccinated, but there are still too many variants to travel anywhere. "That gives me an idea for a photo. How about we're all doing the limbo?" "The limbo?" "You know - the "How low can you go?" dance. Like a metaphor of our living situation after vaccination. We're in limbo. We're all dressed up and ready to go, but we're waiting for the rest of the world to get vaccinated. For the bar to go higher." "That doesn't work because when you do the limbo the bar goes lower, not higher." "What does it matter? It's just a metaphor. Being in limbo. Living between heaven and hell." "You know, I'm not sure anyone under 40 even knows what the limbo is." "Of course they do," I said, turning to my mother. "Mom, everyone knows the limbo, right? "Chubby Checker," replied my mother. "You see, Sophia? Everyone knows the limbo." "Everyone who watches Murder She Wrote knows the limbo." June 10, Quarantine in Queens, Day 451. OK, we made it through the first hurdle of meeting friends outside, but what happens when it is ninety degrees outside? It feels like a heatwave in NYC...in June. Climate change, anyone? Should my mother now meet friends inside a restaurant and take the mask off? It might be less healthy for her to sit outside in the heat. Some people can never get a break. March 20, Quarantine in Queens, Day 368. Ever since my mother received her vaccine, she has been acting like a woman released from prison, which in her case, means she can go to the supermarket again, something she was deprived of for over a year. But since there are still Covid variants out there, my mother cut a parole deal with Sophia that she can only go shopping as long as she is at the doors by 7AM when the store first opens. So now, every morning, I hear the clang clang clang of her decades old shopping wagon banging into the front door or the wall, while I'm trying to sleep. There are three supermarkets within walking distance of our apartment building, one of the reasons my parents chose to live here in the first place. Yesterday, my mother came home from Aron’s with a 5-pack of Passover matzoh. The Jewish holiday is in 2 weeks. "Aron’s is trying to get everyone back inside with these incredible deals. Five boxes of matzoh for $2.99!" "That's great," I said and fell back asleep, my ribs still hurting from when I fell off the unopened sofa bed two days earlier. Sophia had taken me to urgent care that day, but the line was so long for Covid tests, I decided to just skip the x-ray. This morning, my mother again banged the door and wheeled her wagon into the kitchen, having just shopped at Key Food. "You're not going to believe this," she said as she pulled out another huge 5-pack of matzoh from her steel chariot. "Key Food gives you a free 5-pack of matzoh if you spent $50! And tomorrow, I'm going to Food Universe for a buy one, get two free sale! "Why do we need so much matzoh?" I asked. We're still in a pandemic. No one is coming over for Passover." "You never know who might show up." Sophia stepped into the room, having been awoken by our conversation. We talk THAT loud in our home. "We do know who will be here for Passover," said Sophia. "Just the three of us. Unless the prophet Elijah shows up." "OK, I'll admit it. This has nothing to do with Passover. I just really missed going shopping." As they say in the Passover Haggadah, "Last year, we were slaves in Egypt. This year, we are slaves to Key Food." June 30, Quarantine in Queens, Day 471. Neil, to Sophia at 7AM in the morning at breakfast: "This has always been our biggest problem. We need to talk more about our inner emotions, to understand each other deeply, to express what's really in our hearts!" Sophia: "zzzz." Actually, Sophia has been having trouble sleeping at night, and I'm a little concerned. She's tried everything from listening to nature sounds to giving up Diet Coke. July 3, Quarantine in Queens, Day 474. I need to be strong. I need to be fit. I need to fight aging. I need to be successful. I need to be smart. I need to be good. I need to be sexual. I need to be respected. I need to admired. I need to be loved. Ok, I think one push-up is a good start for today. September 29, Quarantine in Queens, Day 195. I had a dream last night and I was wearing a mask - in the dream. And even though I was asleep, I was able to question myself, "Why am I wearing a mask in this dream? I don't need to wear one in my inner life, in my private thoughts, or especially, in my dreams? Is the pandemic now inside my head?" 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? Please describe your process. What camera/s do you use? Do you have a preferred lens/focal length? NK: For this project, I usually start with something that happened to me personally that day, and the photo and text becomes a visual diary of that day. The image usually comes first, and then the text expands on it. I use a crop sensor Sony 6400. Nothing fancy. And because so many photos have been in my super-dark apartment, I've gotten much more skilled in using my inexpensive Godox speed lights. I've also started to tether my photos to my laptop because it allows me to be in my own photos. And because the interiors are so small, I've tended to use a Sigma 16mm wide angle lens for almost all of the interior shots, a lens I rarely used before. TPL: Where do you hope to see yourself in five years? Are there any special projects you are currently working on other than the quarantine project that you would like to let everyone know about? NK: Oh, boy. It has been such a weird year and a half. It is hard to know what I’m doing next month. I’ve had some offers from publishers to make Quarantine in Queens into a book, but since I’m still working on it, even after 500 days of posts, I’ve been procrastinating. I’ll also be showing some of my work at international festivals during the fall and winter. I’d like to move on to other projects, but this pandemic just won’t end, will it? TPL: "When I am not out photographing, I (like to)… NK: Eat in restaurants, explore the city, go to museums, watch movies, go to the theater, travel. Almost everything that has been hard to do the last year and a half. Hopefully, we’ll all get vaccinated and we can move on to normal life again soon." Simultaneously humorous and compassionate, Neil's lockdown diary has gone viral. The Pictorial List thanks Neil for sharing with us his journey through the pandemic, and life in the moment, allowing himself to engage in his way of creative thinking. Go live in the moment with Neil and follow him on Instagram or visit his website. VIEW NEIL'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.

SOCIAL REVOLUTION Ruber Osoria is a Cuban photographer, now living in Southern Chile, far from his home country, where he documents life on the streets. SOCIAL REVOLUTION January 29, 2021 INTERVIEW PHOTOGRAPHY Ruber Osoria INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Ruber Osoria is a Cuban photographer whose remarkable journey has taken him from the vibrant streets of Havana to his current home in the remote corner of southern Chile. Growing up in the countryside of Cuba, Ruber’s early love for photography was sparked by the stories he heard from his grandfather, who was a passionate photographer himself. With the help of his mobile phone, Ruber captured the everyday beauty of his rural home, allowing him to explore the world around him through a lens. It wasn’t until he arrived in Chile that he was lucky enough to get his hands on a used camera, and it was then that he was able to truly hone his craft. His work is now focused on documenting life in the streets and exploring the hidden stories within conflict. Through his lens, Ruber strives to bring attention to the misfortune of humanity, and shows us a unique perspective of what it means to be human. “I started taking photos with an iPhone that an uncle who lives in the United States gave me during one of his trips to Cuba. I would go out with my rectangle in hand and isolate myself far between the embrace of palms and carob beans, I did not know that there was a photography movement and much less that it was considered an art. I just felt good, full, in the climax . And so my friends, artists who graduated from the academies of plastic arts, fell in love with my photography, to the point when I did my first exhibition in my town. Everything was very nice, I fell in love with that social recognition, which gave me my own identity, a unique and exclusive language, and there was the enormous task of learning and educating oneself, difficult for a peasant like me in a country without internet to even see a tutorial. But I had cinema and, most importantly, good friends.” IN CONVERSATION WITH RUBER OSORIA THE PICTORIAL LIST: Ruber, please tell us about yourself. RUBER OSORIA: I was born in eastern Cuba, in a town of Taino heritage, which is subtly penetrated from the back by a wonderful river, which gives the name of Contramaestre to my beloved land, the land of the last mambí, and where the three greatest men in the history of Cuba, Cespedes, Marti and Fidel, washed their bodies in that river. Son of a single, peasant mother, an example of feminism, my mother, without knowing what it was to be a feminist, lived in the town of Maffo, in a wooden house with earthen floor, and 70 percent of the food on our table was produced by my mother's hands, because instead of planting flowers and roses, she planted bananas, corn, beans, an infinite number of things. TPL: How did you get to Chile, being Cuban? What are you doing there? RO: I was born in eastern Cuba. I come from a humble family where the majority of its members, and Cubans in general, perceive the United States as a very civilized country with rich, sophisticated and noble people. It was the perfect destination to migrate to, even more so with all the benefits that we were able to obtain, thanks to the differences between Cuba and the USA, benefits such as the Cuban Adjustment Act or the Wet Feet Act. When those laws were eliminated, Cubans had to rethink a new direction to migrate to, first finding Chile, the paradise of neoliberalism in Latin America. In 2018 I made the decision to migrate to Chile in search of a good job, with the aim of buying my first camera and continuing with this passion that continued to grow every day. I went through 4 countries in less than a month. I was a victim of human trafficking, thirst, hunger and fear. Being in the hands of traffickers, anything unexpected could happen. I finally arrived in Chile as an undocumented migrant. I had never imagined living in Chile, much less working there. It was an impossible dream for a young man like me. Before arriving in Chile, apart from soccer, Neruda's poems, and some emblematic places like the Atacama Desert, I did not know anything about this country. With the money I earned from the first illegal jobs I did, I bought a second-hand camera. It was a Sony A58, my first camera with the kit lenses. Months later it happened that I had to live through a social revolution, so I took a series of photographs entitled *"Chile the other earthquake". *Read THE OTHER EARTHQUAKE through the link at the end of interview. TPL: Where do you find your inspiration? RO: I find my inspiration in literature, in audiobooks, and reviewing a lot of work by other photographers and photography groups. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RO: My favourite photographers are Sergio Larrain, Raúl Cañibano, and Sel Sagama. Sel Sagama is a photographer and friend who has changed the way I look and do my work. He has changed my style by 95%, in terms of the technical as well as the subjective and creative aspects. I photograph with an authorial look and with a message behind it, there is already a working table, it is no longer taking photos just for the sake of taking photos. TPL: Do you have a favourite place to take pictures? RO: The street, conflict, misfortune are my favourite places. But my special place to take photos is the theatre. It is a challenge, it is composing on top of a composition. TPL: With what type of equipment do you do your photographic work? Do you think equipment is important to achieve your vision in your photography? RO: I do my photographic work with a second-hand Sony alpha 58 with the kit lenses, which I bought with months of savings. If I believe that the instrument is a driving motor of a photographer, not in the vision as such, but I believe it is a bridge, where the unreal and the subjective become palpable and solid, such as photography is. TPL: Besides photography, do you have an artistic background? RO: Before discovering this beautiful sensitivity for photography, I was dedicated to the Moorish art of the tablas (a type of drum), and I was the vocalist of a small punk band in my town, also performing for the radio. TPL: Is there a special project you are currently working on and would like to inform us about? RO: I am working on a documentary project about the arrival of baseball in the south central region of Chile, as well as the influence of migrant foreigners in this area. Hopefully I can publish a book. TPL: "When I'm not out taking photos, I (would like)... RO: To be a good lover, a good father, a good companion and to fight the patriarchy. Ruber Osoria's story is a testament to the power of passion and determination. His journey from rural Cuba to distant Chile is an incredible one, and his photographs of the streets and conflicts he encountered along the way are an invaluable reminder of the complexity of life. We can all learn from Ruber's example and use our own talents and interests to pursue our dreams and make a difference in this world. We invite you to join us in supporting and celebrating Ruber's work, as he continues to explore the world through his lens and capture the hidden stories of humanity. VIEW RUBER'S PORTFOLIO 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.

LIFE IN QRIZ Over the last three years, photography has helped Fidan Nazamqizi. Her series reflect the emotions of life in Qriz, a village in Azerbaijan. LIFE IN QRIZ May 24, 2021 INTERVIEW PHOTOGRAPHY Fidan Nazimqizi INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE When we think of life, we often imagine a kaleidoscope of experiences, emotions, and memories. But for photographer Fidan Nazimqizi, life is seen through the lens of her camera. Through her black and white photography, she captures the raw energy, feelings and inspiration of everyday life on the street, creating a unique and captivating perspective. Fidan is a passionate traveler, taking her camera with her on her journeys and reflecting her own vision of reality in each of her photographs. Over the last three years, photography has become an integral part of Fidan's life, changing her outlook on the world. As part of her series 'Life in Qriz', Fidan shares her photographs with the world, inviting viewers to explore the beauty and emotion of the everyday of the Qriz community. “When I'm out taking a photograph, I will not only see but also experience the environment - smell the earth, feel the breeze on my skin, or even hear the sounds around me.” IN CONVERSATION WITH FIDAN NAZIMQIZI THE PICTORIAL LIST: Fidan, please talk to us about your series of photos - LIFE IN QRIZ. FIDAN NAZIMQIZI: Qrız is a village and in the Quba Rayon of Azerbaijan. Quba is a city and the centre of the Quba District of Azerbaijan. The city lies on the north-eastern slopes of Shahdag mountain. The city itself is home to a number of architectural and historic monuments, like the Juma Mosque, Gilgilchay Fortress, and a number of other mosques and mausoleums. Many people come to Quba as part of a trip to other parts around the city. Red Town is the world’s last surviving shtetl, a settlement of Mountain Jews with their own language and culture. Khinalug is the highest village in Azerbaijan, 2,350 m (7,710 ft) above sea level. Khinalug was isolated from the rest of the world for most of its history, leading to unique stone buildings and a language spoken nowhere else. Quba is also popular just as a place to go to enjoy the beautiful nature of Azerbaijan. Quba carpets also make for an interesting trip. These carpets feature intricate designs that take inspiration from nature and geometric patterns, plus a variety of vivid colors. Each village had signature patterns, though many have been lost to time. However, more recently, carpet workshops have been opening in Quba with the aim of bringing back the art of carpet weaving and reviving the skills and knowledge needed to keep this ancient art alive. The village of Qrız sits on a plateau over 2,000 metres up surrounded by dramatic landscapes. They speak their own local language. Qrız language is part of the Caucasus family, in the Dagestan group and the Shahdag sub-group. Their houses are made partly out of picked wooden sticks and stones in the near forests. It is not possible to get to the village by a personal car, only by foot or 4x4 Land Rover. Locals usually earn a living by keeping animals and grazing them. However, the village of Qrız is still the cradle of Qrız identity and culture. It’s history, relying on the little online information that exists, as well as interaction with several locals, is undoubtedly very rich. The Qrız people are reportedly descendants of one of the 26 tribes that made up Caucasian Albania, the ancient state that existed between the 4th century BC and the 8th century AD and encompassed today’s Azerbaijan. Evidence of this is the abundance of old stones from crumbled houses and graves scattered across the plateau on which Qrız sits, which give some idea of the village’s scale in its prime. There is a ancient mosque located in the center of the village. Some Baku hike-tour companies use the village as a base to visit a local waterfall that is especially attractive when frozen in winter. TPL: Tell us about yourself. How did you become interested in photography? FN: Born in the city of Baku, Azerbaijan, I live in Baku. I work as accountant but like photography so much. I have always been interested in photos. When I was younger, I used to pore through drawers of photos and photo albums that my parents made, looking at them, rearranging them and remembering the moment that they were taken. Little did I know that those pictures would someday help shape a great hobby of mine and something that would bring me great joy. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? FN: I find my inspiration from old and vintage photographs. Vivian Maier and her black and white photos have always inspired me. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? FN: I think my way of seeing will reflect in my choice of the element. When I'm out taking a photograph, I will not only see but also experience the environment - smell the earth, feel the breeze on my skin, or even hear the sounds around me. I use my camera to express my own interpretation of that real event and environment. TPL: Do you have a favourite place to go photograph? FN: Into the hue of the nature and city, I always find myself calm. Most of the time I try my best to capture it in my camera. That is what my rules of work is all about - people and nature - reflecting my own vision as evidence of reality. My notions of what is worth looking is arranging elements and making compositions. I discovered that my camera helped improve my life. Concepts that definitely changed my way of thinking. 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? FN: I discovered that my camera helped improve my life. Concepts that definitely changed my way of thinking - when I take a photograph, I will not only see but also experience the environment. 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? FN: During 2018 I used to shoot with my Nikon D3100 (18-55mm) only. Nowadays I use a Yashica 35 GSN and Canon 85N with a 35mm. I also use some old cameras: a Fujifilm JZ100 (25-200mm), Kodak STAR EF (35mm). TPL: What happens when you go out with your camera? What is your process? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? FN: I take my camera everywhere and I have tried to take a photo every day for a year. I no longer saw the same streets I walk along everyday, with the same people, and the same thoughts in my head. Sometimes people don’t like when I do photographs. This reason I take photos hidden. Sometimes they ask me take photos too. Different people and different viewing angle. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? FN: Over the last three years, photography has helped me live life a lot better and completely change my perspective on the world. I hope learning and growing too. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? FN: I'm a member of the BerlinExplorer project. A project of ideas and creating an immersive photography experience. BerlinExplorer wants to be an open-door activity and accessible to anyone who wants to gain experience in photography, it is not a closed circle, but an opportunity to grow in a community open to the exchange of ideas and experiences. Creator of this project Emiliano Vittoriosi also did my fanzine “Saudade”. Also I work on my personal project 'Handmade Vintage Papers' and prints photography. TPL: When I am not out photographing, I (like to)… FN: When I am not out photographing, I explore 1940-70’s photographs. Over the last three years, photography has helped Fidan. Her series that she has shared with us reflects the emotions of life in Qriz. To see more of her emotive photography please visit her Instagram. VIEW FIDAN'S PORTFOLIO Fidan'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.

FRAGMENTS OF A TIME These unfocused images connote the mixture of emotions and uncertainties Daniela Pereira perceived as time passed during the pandemic. FRAGMENTS OF A TIME April 26, 2021 INTERVIEW PHOTOGRAPHY Daniela Pereira INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Daniela Pereira is passionate about photography as a hobby and artistic expression. She is interested in several genres and likes to experiment with photographic techniques. Daniela has shared this series of photographs of her exploration of long exposure photography. These blurred, unfocused images, of different colours and shapes, connote the mixture of emotions and uncertainties she perceives as time passes during the pandemic. “The purpose of this project is to explore long exposure photography. It is a technique that helps me to portray the passage of time. The blurred, out-of-focus images of different colors and shapes connote the mixture of emotions and uncertainties derived from this year of the health emergency due to Covid-19. They can also be related to the different ways of perceiving the passage of time at that stage. The dynamism conveyed by the photographs is associated with the speed of change, with the intensity of the experience. The dilated figures, without precise limits that seem to be moving but never end up passing, suggest the slow course of a time that does not coincide with the usual.” IN CONVERSATION WITH DANIELA PEREIRA THE PICTORIAL LIST: Daniela please tell us about yourself. How did you become interested in photography? DANIELA PEREIRA: I was born in Montevideo, the capital of Uruguay, South America where I’m living now. I work in international cooperation for development, in the area of education and culture. I traveled to many countries around the world. I studied abroad in Spanish universities. My interest in photography began during my trips. Photography is my great passion. Whenever I have the opportunity or the time I take my camera with me. Four years ago, I began studying specialising in amateur photography at Foto Club Uruguayo, a well known photography institution. TPL: Where do you find your inspiration? DP: My main source of inspiration are Montevideo city streets. As I live there, most of my photographs are taken in the city. I love walking through the city looking for amazing places and people. I also like nature and landscapes. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? DP: I always try to include a personal look in my work through the different aspects of my photographs: technique, lights and shadows, use of light, topics, movement, double exposures. The elements I pay most attention to are the ones that make a balanced composition. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DP: There are many artists and photographers that inspire me...Aleksandr Rodchenko to name just one. TPL: Where is your most favourite place to go photograph? DP: The city, the street during the day and at night. Photography is my great passion. Whenever I have the opportunity or the time I take my camera with me. 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? DP: I used to enjoy the interaction with people in the street when I’m photographing their places or making some kind of portrait or scenes. According to the Ethic and Human Rights Act, I do try to be respectful for their images and identity so I always ask them for agreement. I also express my gratitude for the opportunity. If some disagreement appears I make an explanation and apologise. 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? DP: Both. Sometimes I have a definite idea or concept and I go out and look for it, and other times, the images just find me. 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? DP: Equipment offers goods possibilities. I use a Canon EOS 77D. I don't have any preferred lenses. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? DP: I think I will continue to improve and experiment. I also see myself participating in photography groups, calls and photographic exhibitions. TPL: When I am not out photographing, I (like to)… DP: I work or I am with my family. I also like to exercise, play field hockey or go to the movies. These unfocused images connote the mixture of emotions and uncertainties Daniela perceived as time passed during the pandemic. To see more of Daniela's work connect with her on Instagram. VIEW DANIELA'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.

I am passionate about photography as a hobby and artistic expression. I am interested in several genres and I like to experiment with techniques and images. The purpose of this series is to explore long exposure photography. The images obtained with a longer than usual exposure time seek to capture more seconds of the scene. It is a technique that helps to portray the passage of time. These blurred, unfocused images, of different colours and shapes, connote the mixture of emotions and uncertainties that arise from this year of health emergency - Covid 19. The photos also evoke the different ways of perceiving the passage of time in the pandemic. DANIELA PEREIRA I am passionate about photography as a hobby and artistic expression. I am interested in several genres and I like to experiment with techniques and images. The purpose of this series is to explore long exposure photography. The images obtained with a longer than usual exposure time seek to capture more seconds of the scene. It is a technique that helps to portray the passage of time. These blurred, unfocused images, of different colours and shapes, connote the mixture of emotions and uncertainties that arise from this year of health emergency - Covid 19. The photos also evoke the different ways of perceiving the passage of time in the pandemic. LOCATION Montevideo URUGUAY CAMERA/S Canon 77D @DANIELA.PMP FEATURES // Fragments of a Time

I am a 45 year old British-Canadian photographer, and a digital nomad. Over the last year I have documented the pandemic, mostly from the back of my campervan 'Juno', whilst travelling safely in line with local lockdown restrictions. This series of photos comes from Grounded, my recently released photobook published with ADM Publishing. During the Covid-19 pandemic of 2020, many people's perceived sense of home - of being 'grounded' - disappeared, overnight. Suddenly we found ourselves in a dystopian dream world, a world where our bedrooms became our offices, without boundaries or definition, where much yearned for social connection played out on a flat digital screen, and where touch became forbidden. From all of these feelings and perceptions, this series was born. Grounded begins with a self portrait I took, in late February 2020, as a digital nomad working and travelling in India. At the time I was distracted by the situation, weighing up my travel options with Covid-19 rapidly spreading like an advancing army. I cancelled my trips for the remainder of the year, and made it back to the UK in March on one of the last commercial flights, just as the EU closed its borders. From April, I set about documenting my home town of Bristol as I'd never seen it before... eerily quiet, an extended snow day, a place where even children's play equipment had become forbidden and tainted. Like millions of others, I struggled. We were told that being safe meant cocooning at home, yet there was a sense that our homes had become alien to us, that he safe backdrop to our lives had irrevocably shifted. If we went outside, we were ordered to keep moving. Focus became impossible, days seeped into nights, and sleeplessness soared. As lockdown and travel restrictions eased, I had an overwhelming urge to move - in the hopeless pursuit of becoming more grounded. So I bought a cute, self-contained campervan called Juno, and set off to France with high spirited expectations of a summer of freedom. The trip was immensely challenging, despite my enthusiasm. I encountered an out-of-season, out-of-time atmosphere that haunted every landscape. I found myself in unusual situations I'd never encountered before. My photography evolved in ways I did not expect, and I used self portraits to tell this narrative. Eventually after almost 6 months, I left and returned home on one of the last ferries before Britain left the EU. I had come full circle - back home, yet still not quite grounded. I have come to live with the feeling now, and to be more at peace with it. I know it will lift, and go, just as soon as the pandemic eases. And then we will all be left wondering, and shaking our heads in disbelief. Did I just dream that? What was all that about? What happened to me there, exactly? Grounded is presented as a special boxed book with a signed 10x8" print. Available exclusively from www.artdecomagpie.com (ADM Publishing). SAMANTHA BROWN I am a 45 year old British-Canadian photographer, and a digital nomad. Over the last year I have documented the pandemic, mostly from the back of my campervan 'Juno', whilst travelling safely in line with local lockdown restrictions. This series of photos comes from Grounded, my recently released photobook published with ADM Publishing. During the Covid-19 pandemic of 2020, many people's perceived sense of home - of being 'grounded' - disappeared, overnight. Suddenly we found ourselves in a dystopian dream world, a world where our bedrooms became our offices, without boundaries or definition, where much yearned for social connection played out on a flat digital screen, and where touch became forbidden. From all of these feelings and perceptions, this series was born. Grounded begins with a self portrait I took, in late February 2020, as a digital nomad working and travelling in India. At the time I was distracted by the situation, weighing up my travel options with Covid-19 rapidly spreading like an advancing army. I cancelled my trips for the remainder of the year, and made it back to the UK in March on one of the last commercial flights, just as the EU closed its borders. From April, I set about documenting my home town of Bristol as I'd never seen it before... eerily quiet, an extended snow day, a place where even children's play equipment had become forbidden and tainted. Like millions of others, I struggled. We were told that being safe meant cocooning at home, yet there was a sense that our homes had become alien to us, that he safe backdrop to our lives had irrevocably shifted. If we went outside, we were ordered to keep moving. Focus became impossible, days seeped into nights, and sleeplessness soared. As lockdown and travel restrictions eased, I had an overwhelming urge to move - in the hopeless pursuit of becoming more grounded. So I bought a cute, self-contained campervan called Juno, and set off to France with high spirited expectations of a summer of freedom. The trip was immensely challenging, despite my enthusiasm. I encountered an out-of-season, out-of-time atmosphere that haunted every landscape. I found myself in unusual situations I'd never encountered before. My photography evolved in ways I did not expect, and I used self portraits to tell this narrative. Eventually after almost 6 months, I left and returned home on one of the last ferries before Britain left the EU. I had come full circle - back home, yet still not quite grounded. I have come to live with the feeling now, and to be more at peace with it. I know it will lift, and go, just as soon as the pandemic eases. And then we will all be left wondering, and shaking our heads in disbelief. Did I just dream that? What was all that about? What happened to me there, exactly? Grounded is presented as a special boxed book with a signed 10x8" print. Available exclusively from www.artdecomagpie.com (ADM Publishing). LOCATION Bristol UNITED KINGDOM CAMERA/S Sony A7 WEBSITE http://www.sambrownstills.com/ @__SAM_BROWN__ FEATURES // Grounded

ECCENTRI-CITY Danny Jackson is a people watcher, candidly documenting characteristically British moments, with a focus on the eccentric. ECCENTRI-CITY June 25, 2021 INTERVIEW PHOTOGRAPHY Danny Jackson INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Danny Jackson is an Essex-based photographer with a knack for capturing the unique and often humorous moments of everyday life. His work has been featured in galleries and publications throughout the United Kingdom and abroad, and his keen eye for detail allows him to capture the characteristically 'British' moments that make his photos so special. With a passion for creative storytelling and a desire to leave something meaningful behind, Danny’s photographic creations are sure to leave you with a smile on your face. From quirky street scenes to picturesque wedding portraits, Danny Jackson’s photography truly captures the beauty and joy of life. “Both of these series focus on eccentric and interesting people. Why Eccentrics? I've asked myself that question quite a lot, and I suppose the main reason is eccentric people seem to live life a different way to the rest of us, they rebel against the established approach, and let their interests and passions consume their lives.” IN CONVERSATION WITH DANNY JACKSON THE PICTORIAL LIST: Danny please tell us about yourself. How did you become interested in photography? DANNY JACKSON: I'm a street, portrait, and documentary photographer from Canvey Island, Essex. I like documenting Britishness, eccentric characters, and maybe attempting to inject some humour into the photos I take. I've always been a bit of a people watcher, people interest me, I suppose street photography is an extension of that interest. In 2019 I started working on a portrait series called 'Eccentric Essex', this project consisted of people of a eccentric nature photographed in their own homes. The Pandemic bought me the opportunity to go through my work, which in turn has lead to the development of the series 'This is Essex', and 'EccentriCity'. Both of these series focus on eccentric and interesting people. Why Eccentrics? I've asked myself that question quite a lot, and I suppose the main reason is eccentric people seem to live life a different way to the rest of us, they rebel against the established approach, and let their interests and passions consume their lives. In 2020, I won first place in the “Love your Friends” category in the “Love in London” photography competition, securing third place overall. This year I appeared in The Independent Online and The Mail Online as well as local papers showcasing my recent series 'This is Essex'. My father died a few years ago and it had quite a profound effect on me, it made me feel the fugacity of life, and it changed me. It made me want to leave something behind. TPL: How do you find inspiration? DJ: Everyone tends to say ‘Instagram’ on this question, and that tends to be the same for me too, although inspiration can come from all kinds of different things, the way light shines on an object, a painting in an art gallery, I also have quite a collection of photo books that I like to look at. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? DJ: Humour is something I’m always looking for in my photographs and that’s something that can be quite a challenge to pull off. I people watch all of the time, and if I see something that stirs something in me, whether it be a smile or a laugh, I believe if I can capture that in an image, it should stir up the same feeling in someone else. Storytelling is also something I try my best to do. TPL: Do you have a favourite place to go photograph? DJ: I like to search for eccentric and interesting people, so my favourite places are the places they dwell, which for me is Brick Lane, Camden, The Southbank, Soho and London's parks. 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? DJ: On the whole its very positive, I always make good eye contact with people who I want a portrait of, and with a big smile I approach. I've always been quite good at reading people and can normally tell if people are going to be easy going. If there ever is any problem my best advice would be to resolve the situation as quick as possible, forget about it and move on. 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? DJ: With the portraits I usually do pretty much the same thing every time so that’s pretty easy, occasionally I'll try to focus on one idea with the street shots, or a theme, but, most of the time I’m just hunting. I people watch all of the time, and if I see something that stirs something in me, whether it be a smile or a laugh, I believe if I can capture that in an image, it should stir up the same feeling in someone else. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DJ: In art, I really love portrait artists Francis Bacon and Lucian Freud. I’m also a big fan of Salvador Dali (a wonderful eccentric). Also Banksy of course. In photography, a lot of people believe my work to have a little of Martin Parr in it, and I’ll agree with that, I am a fan of his, but also Dougie Wallace, Bruce Gilden, Matt Stuart, Elliott Erwitt and Vivian Maier. 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? DJ: I have a few Nikon cameras, a 7200, a 5400, and a 3200, and a load of prime lenses, I mostly have a 35mm or 50mm on the camera but also have a 70-300mm zoom, which are great for events where there’s tons going on around you or you don’t want to disturb the scene. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? DJ: I've always wanted to do a book, “The Eccentrics” series or the “This is Essex” series I think could work in book form. I would also like to have done a lot more portraits by then. An exhibition in London would also be a bit of a dream. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DJ: I have an exhibition coming up at Mancave Antiques in Leigh on Sea with both series being shown in September, that’s part of The Leigh Art Trail. Currently Todd Viser (@zoomento) and I have been doing interview/chats on @street_badass through Instagram TV. We have met a tonne of great photographers including your esteemed editor Karin (@in_publico), and doing that has been an amazing experience...it's like doing a masters in photography. TPL: "When I am not out photographing, I (like to)… DJ: Spend time with my family. I have a son, two daughters and a brilliant, pretty wife, oh and two dogs. We like to go out somewhere and do something every Sunday together." Danny is a people watcher, candidly documenting characteristically British moments, with a focus on the eccentric. Thank you Danny for always putting a smile on our face. Connect with Danny on Instagram. VIEW DANNY'S PORTFOLIO Read Danny's Story THIS IS ESSEX >>> 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 61 years old, and married with three children. I work in a software company and live in a quiet neighborhood of Tel Aviv, the city which I grew up in, have never left and is a part of me and my hobby - photography. I enjoy cinema and music, and during the 1980s I photographed using film cameras. I then did not touch a camera for 20 years until I received a digital camera as a gift for my birthday from my wife a few years ago. The rest is history… After two years of stagnation and a few lockdowns due to covid-19, I went to the US on a family visit. I felt like a bird who finally flew out of its cage! This series "Journey of Freedom" depicts that wonderful feeling of freedom and expresses in a surrealistic manner the emotions of the people who went through covid -19, each of them in his own way. GABI BEN AVRAHAM I am 61 years old, and married with three children. I work in a software company and live in a quiet neighborhood of Tel Aviv, the city which I grew up in, have never left and is a part of me and my hobby - photography. I enjoy cinema and music, and during the 1980s I photographed using film cameras. I then did not touch a camera for 20 years until I received a digital camera as a gift for my birthday from my wife a few years ago. The rest is history… After two years of stagnation and a few lockdowns due to covid-19, I went to the US on a family visit. I felt like a bird who finally flew out of its cage! This series "Journey of Freedom" depicts that wonderful feeling of freedom and expresses in a surrealistic manner the emotions of the people who went through covid -19, each of them in his own way. LOCATION Tel Aviv ISRAEL CAMERA/S Fuji Xt2 and Xt3 WEBSITE https://www.gabibest.com/ @GABYBA33 FEATURES // Journey of Freedom

COMMON MOTIFS Astrid Neundlinger strives to find unusual perspectives, interesting lighting and potential in common motifs. COMMON MOTIFS June 29, 2020 INTERVIEW PHOTOGRAPHY Astrid Neundlinger INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photographer Astrid Neundlinger strives to find unusual perspectives, interesting lighting, and potential in common motifs. Born and raised in the quiet countryside of Austria, Astrid first discovered her love for photography when she moved to the city of Vienna at the age of 20. Longing to process the impressions that this new chapter in her life brought on, she bought a cheap digital camera and set to work. Astrid began with a 365 days project - taking one self portrait every day for a year - teaching herself photo processing along the way, and experimenting with Polaroid and different types of photography, such as macro and landscape. After taking a break from photography for a few years, Astrid's passion for photography was finally reawakened when she discovered smart phone photography and joined Instagram. She has recently focused on cityscape photography. “I started getting interested in photography around 2008 when I was a university student. I had just moved away from home into a new city and was looking for a new hobby. I discovered the community on Flickr and became a passionate amateur photographer pretty quickly.” IN CONVERSATION WITH ASTRID NEUNDLINGER THE PICTORIAL LIST: Where do you find your inspiration? ASTRID NEUNDLINGER: When I haven't taken photos in a while looking at other artists' work in galleries, exhibits, or on Instagram always inspires me. It revives the way I look at things. What also works are small assignments I give myself - going on a photo walk and taking pictures from a specific perspective or with a theme in mind, such as incorporating negative space into each photo. TPL: Who are your favourite artists and photographers? AN: My absolute favorite is Elizaveta Porodina. Her work always inspires me - it is as creative as it is versatile. Apart from her, I admire the work of Vivian Maier and Martin Parr. TPL: Has your style of photographing changed since you first started? AN: I used to experiment a lot with post processing in the beginning, which is no longer part of my style. I mostly use my phone to take photos now, and I enjoy the spontaneity that comes with it. Before smartphones I used to pack up one or two cameras and head out with a project in mind. Although that had its advantages, I prefer the more documentary approach that comes with bringing my phone i.e. camera everywhere I go. Having a smartphone camera with me at all times gave me back my photographic eye, and that's what counted. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AN: From my early days using a cheap camera I learned that creativity does not necessarily need high quality equipment. That is not a requirement for taking interesting photos. I think what counts is developing an eye for interesting scenes, places and motifs, and cultivating your own style. Having a smartphone camera with me at all times gave me back my photographic eye, and that's what counted. To beginners I'd recommend to experiment, not to be too harsh a critic of their own work, and most importantly to have fun with it. TPL: If I wasn't photographing what would I be doing? AN: I am grateful for being able to work creatively and take photos in my day job. I can bring my hobby and my work together this way. It helps me with remaining creative in my spare time, too, and keeping my eye out for my next photo. Astrid's story is a reminder that technology can bring us new passions and open up exciting opportunities for creativity. Through embracing her smart phone and joining Instagram, she was able to rediscover her love of photography, and unlock a new level of creativity. If you want to join Astrid on her journey and be inspired by her eye-catching photos, connect with her on Instagram today. VIEW ASTRID'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.

CREATIVE MOVEMENT Be it on foot, by boat or train, Maarten Vroman photographs the altering terrain in his passage of time, building memories that will last. CREATIVE MOVEMENT April 14, 2022 INTERVIEW PHOTOGRAPHY Maarten Vromans INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Roaming through the urban streets, across rolling hills and over vast oceans, Maarten Vromans uses his lens to document the beauty of the world he travels. From the forgotten corners of society to untouched lands, his photographs are an exploration of the impermanence of time and the transient nature of life. Exploring the borders between residential, commercial and working environments, Maarten’s eye is drawn to the forgotten places, the liminal spaces between different stages of life. His method is one of motion - much like life itself, Maarten’s images appear to capture moments in constant flux; depicting the in-between places that exist as a transition between states. “Movement,” states Maarten, “is always at the heart of my work and methods.” Through his lens, we are invited to witness the quiet stillness of a no-man’s land, where the human presence is absent and only the natural beauty remains. The result is a body of work that is tranquil, abstract and picturesque, yet recognisable in its exploration of place and time. Join Maarten as he ventures into the unknown, exploring the world and all its wonders. “I simply can’t stop seeing anymore. Or stop framing. Wherever I go, I’m always on the lookout to find suitable locations. I’m on all the time – and I like it.” IN CONVERSATION WITH MAARTEN VROMANS THE PICTORIAL LIST: Maarten please tell us what draws you to photography and art? How did your journey into photography begin? MAARTEN VROMANS: As a child, I was always busy creating things. This could be drawing futuristic cars, building an ever-growing Lego town or redecorating my bedroom – which became an almost weekly exercise. As a teenager, I was planning a career as a painter, photographer or graphic designer. I was admitted to art school, but after only four months of attending classes I switched courses and eventually graduated as a journalist. For the past twenty years I’ve been working as a copywriter and creative in all kinds of organizations. During this time my interest in painting and graphic design slightly faded, but my ambition to improve my photographic skills became stronger. In 2014, I decided it was time to explore whether my lifelong dream of becoming a photographer and showing my work in a gallery could become reality. When walking through the city of Rotterdam, where I lived from 2001 until 2019, I started working on what would become my URBAN EROSION series, a project in which I explored the impact that people, nature and weather have on urban development. By the end of 2017 the gallery that just started representing me sold my first work during an international art fair in Amsterdam. Currently, I live in Delft, a small town in the Netherlands. At this very moment I’m working on a monograph of my Urban Erosion series and I’m also creating a special edition box set containing prints from my Urban Erosion² series. TPL: You state that “movement’ is at the heart of your work and methods”. Describe how this word inspires your projects? MV: I never work in a studio. I always go out to take photos. And when I do, I’m always on the move. For my photo series LUCKY SHOTS, and for the successors GO WEST and NO HORIZON, I was travelling by train, taking pictures of the landscapes that I passed by. The results clearly show that I, as a photographer, am moving with a certain speed while taking shots. As such, "movement" is inherent to all the images in these series. When shooting my series URBAN EROSION and URBAN TRANSITION, I’m always wandering to find perfect locations in the no-man’s land between residential, commercial and working environments. "Moving" through these built-up, cultivated and untouched areas is part of the process of creating these series. TPL: Your Instagram gallery feels like a visual journey, your passage of time and building memories. Do you see your world differently now, then you did when you first started out in photography? If so, define that new vision. MV: Thank you for your kind words about my Instagram gallery. Yes, I definitely look at the world differently since I’ve started working on my photo series. I simply can’t stop seeing anymore. Or stop framing. Wherever I go, I’m always on the lookout to find suitable locations for my ongoing ‘URBAN TRANSITION series, the sequel to the URBAN EROSION series. I’m on all the time – and I like it. From project 'Lucky Shots' © Maarten Vromans From project 'Urban Transitions' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Urban Transition' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Go West' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Transition' © Maarten Vromans TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? MV: My parents got me my first camera in 1990. It was an analog point and shoot Fuji FZ-5, with a fixed 35mm lens. I still have it today, although I haven’t used it since 1993. The Fuji didn’t offer me much to learn in terms of controlling a camera. But it did teach me the most important skill I needed as a photographer: how to frame a picture. I’ve switched camera’s a few times since then, until 2018 when I bought a slightly used Sony A7R. I have a Sony 35mm 1.8 lens glued to it. I love the looks of this combination, I’m in full control off it and I’m planning to use it for many years to come. TPL: What has been your most memorable moment as a photographer? MV: 😂 In 2018 I was travelling from New York to San Francisco to shoot my GO WEST series. I had prepared that project very well, yet the first 24 hours of my trip turned out to be a total disaster. All the photos I took were disappointing. The batteries of my equipment were dying, due to malfunctioning power outlets in my coach. And my train was delayed for more than three hours, which meant I was in danger of missing my connecting train in Chicago. I was close to giving up. I phoned my girlfriend back home in the Netherlands and she urged me to carry on. I did and everything changed for the better. I caught my connecting train. Was able to recharge my equipment. And after another day of non-stop travelling, the train drove off into the Rocky Mountains – with me still on it of course. With the landscape that revealed itself from that moment on, I was finally able to create a photo series that stood out from my earlier Lucky Shots project. Had I given up in Chicago, my ‘Go West’ series would not have existed. I'm also pretty sure I wouldn't have travelled to Switzerland to create the sequel series ‘No Horizon’ in 2019. After successfully completing those photo series, I am convinced that I can also overcome any setbacks when making my future projects. I don't want to come to a standstill. Movement, in every way, is essential in my work and methods. TPL: Do you have any favorite photographers you would like to share with us, and the reason for their significance? MV: Where do I begin? I admire how Awoiska van der Molen, Hiroshi Sugimoto, Misha de Ridder and Teo Becher are capable of capturing the atmosphere of desolate landscapes. And I love how Bert Danckaert, Marleen Sleeuwits, Filip Dujardin and Rowan Hutchinson find beauty in spaces and cities. TPL: What are some of your most favorite spots you find inspiration to explore through your photography, and what draws you there? MV: Everywhere I go, I like to visit museums and galleries with a strong focus on photography. Like Huis Marseille in Amsterdam, or the Nederlands Fotomuseum in Rotterdam. I also love to collect small photography booklets brought to the market by small, independent publishers, such as Another Place Press, Café Royal Books, The Modernist, Multi Press or The Velvet Cell. Publications that have landscapes or urbanscapes as their main subject, always attract my attention. I usually discover those small publications at art and photo book fairs. TPL: Are there any other photographic projects you are working on, or have planned in the near future? MV: Currently I am working on my ongoing URBAN TRANSITION series, which I started at the beginning of 2021. Whenever the weather is cloudy, I like to wander around Dutch cities such as Rotterdam, Amsterdam and Delft, and capture the layered history of buildings I come across. I am also working on a new project. I want to sail across the Atlantic Ocean in 2023 to create a new photo series. In the next few months, I’ll start developing a new visual language and I’ll also be on the lookout for some funding. From project 'No Horizon' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Transition' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Go West' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'Lucky Shots' © Maarten Vromans From project 'No Horizon' © Maarten Vromans From project 'Urban Erosion' © Maarten Vromans From project 'No Horizon' © Maarten Vromans TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MV: I hope that within five years my work can be on show in one of my favorite museums. I also hope that I can continue to develop as a photographer, by getting started with challenging projects. I don't want to come to a standstill. As said; movement, in every way, is essential in my work and methods. TPL: “When I am not out photographing, I (like to)… MV: I still like to play with Lego. And I still love redecorating my living room - driving my girlfriend crazy sometimes. Last but not least I really like to visit remote destinations like Spitsbergen, Greenland and the Faroe Islands.” Maarten Vromans’ photographs are a powerful reminder of the beauty and impermanence of life. His exploration of liminal spaces and transient moments provide a glimpse of the world between our everyday lives and the unknown. Through his travels, Maarten continues to discover the forgotten corners of our society and capture them in captivating frames. We invite you to explore his work and take a journey through the eyes of Maarten Vromans - to observe the changing landscapes and reflect on our own changing lives. VIEW MAARTEN'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.