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THE URBAN RELATIONSHIP British photographer Tommaso Carrara focuses on the relationship between the human and the urban environment. THE URBAN RELATIONSHIP July 30, 2020 INTERVIEW PHOTOGRAPHY Tommaso Carrara INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE London is a bustling city full of life and color, stories and secrets. But beneath the hustle and bustle, a different side of the city emerges for those lucky enough to capture it with the right lens. Tommaso Carrara is one such photographer who has captured the hidden beauty and emotion of London's streets through his ongoing project of capturing silhouettes of people in the cityscape. As a security engineer by day, Tommaso spends his free time exploring London, camera in hand, seeking to capture a meaningful and mysterious representation of the human figure within the urban environment. His images are a stunning celebration of the human form and London's unique beauty. Join us as we explore the world of Tommaso Carrara and gain insight into his ongoing project of capturing the relationship between people and their environment. Practice does not make perfect. Only perfect practice makes perfect. - Vince Lombardi “Not only I am a perfectionist at heart, but I am also a firm believer that, besides from exceptional cases, most of us have pretty much the same capabilities. As such, in order to succeed, it is up to us to find what our skills are, understand them and improve as we go along.” IN CONVERSATION WITH TOMMASO CARRARA THE PICTORIAL LIST: Tommaso, when did you start getting interested in photography? TOMMASO CARRARA: I have always liked beautiful photographs, but I have never been interested in 'making' photographs. Until December 2018 when, following the end of a relationship, I felt the need to investigate my inner thoughts and try to somehow explain what was going on. This is when I bought myself a proper camera and began self-learning about how to actually operate it. TPL: Where do you find your inspiration to photograph? TC: Most of the times I find my inspiration just by walking the streets, in search of it. Some other times, depending on my emotions, I may look at the surrounding with different eyes as well. Last but not least, masters of photography are also a very important starting point when it comes to inspiration. TPL: Is there anything you want to express through your photography? What are some of the elements you always try to include in your photographs? TC: I do not generally follow a specific pattern while shooting as I tend to freeze a moment/person/situation that inspires me. I believe that inspiration may come from a variety of elements such as light, shadow, mood, feelings that cross my path. Therefore there is no such thing as a scheme of elements that I always include in my photography. At the same time, I cannot really say what I want to express through my photography. Often I do not even know what I am trying to communicate myself in the first place, and I would prefer not to influence the viewer. What I really care about is knowing that the viewer comes up with their own interpretation, which I think is the ultimate meaning of any form of art. TPL: What is your process when you are out photographing the street? TC: Generally, when shooting the streets, I am open to pretty much everything that draws my attention. As such, I do follow a limited number of patterns, but amongst these are surely trying to be stealthy and work the scene and wait for the right situation to present itself. TPL: Do you prefer to photograph alone or with friends? TC: I prefer to photograph alone for mainly because I see photography as a very intimate moment which also requires concentration and the lack of distractions. TPL: What is your preferred lens/focal length? TC: My go-to lens is the Fujinon 35mm 1.4f (50mm in full-frame terms) as it allows me to shoot in low light situations and at the same time keep some distance from the subject. My passion for photography started as a way of investigating myself after a key moment of my life. TPL: Who are your favourite artists/photographers? TC: My favourite photographers are Henri Cartier-Bresson, Joel Meyerowitz, Saul Leiter and Vivian Maier. Saul Leiter probably being the one who most inspired my style. TPL: Has your style of photographing changed since you first started? TC: Indeed my style of photographing has changed since I first started, and I expect it to keep changing with time. For instance, I used to shoot a tad wider but I seem to like narrower now. Additionally, it is not only the focal length, but especially the way I compose the photo. Now I am a little more careful and strive to as much as I can in camera, without the need to work too much on post. TPL: Where is your favourite place to photograph? TC: The streets of big and busy cities. More specifically London, which is where I currently live. TPL: What are some of your goals as an artist? Where do you hope to see yourself in five years? TC: My passion for photography started as a way of investigating myself after a key moment of my life. As this is not a source of income, I feel that I have the freedom to follow this path at my own pace. However, I do not exclude that photography may become for me a full-time commitment. TPL: Are there any special projects you are currently working on? TC: I have been working on two projects currently "Rough Details" (a collection of my favourite photographs from urban environments across the world in the form of silhouettes) and "Looking out of the window" (photo-series aims at documenting the many different ways people immerse themselves in their thoughts during this very intimate moment) TPL: If I wasn't photographing what would I be doing?... TC: Probably spending more time typing on a computer. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I thought that, with time, all the questions I have been asking myself for years about my relationship with photography would be resolved. To give evidence of a world in continuous change?, To provoke feelings?, Poke around in the consciences?, Hedonistic exercise? Selfish Utilitarianism?, Memory sustenance? Far from it, a multitude of possible answers remain open. Doing photography: a crude attempt to usurp from Life infinitesimal parts of its Time - that merciless God - to recompose them in whimsical combinations of light and shadow, creating illusory windows to the outside world but also to the inner one. I hardly ever photograph objects, monuments or landscapes, which, if anything, are mere decorations accompanying a single protagonist: the human being, with his strengths and miseries, with his yearnings and frustrations, with his laughter and tears. And I can't remember a single one of my photographs in which, at the moment of shooting, I have not been accompanied by the deep conviction that only chance or even time are the single reason why I’m not that old man from a remote tribe, that devotee in ecstasy inside a madrassa, that beggar sheltering from the rain under the tin or that nouveau riche who disdains everything that doesn't concern him in the first person. I do not photograph what I see but what I am. I never think of my photographs as art objects or consumer items, they have nothing to do with ephemerality either. I think of them as tools at the service of a simple idea so masterfully summarized by Wayne Miller: the universal truths of being human. I firmly believe that the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us, like mirrors, some unknown part of ourselves. RPNUNYEZ I thought that, with time, all the questions I have been asking myself for years about my relationship with photography would be resolved. To give evidence of a world in continuous change?, To provoke feelings?, Poke around in the consciences?, Hedonistic exercise? Selfish Utilitarianism?, Memory sustenance? Far from it, a multitude of possible answers remain open. Doing photography: a crude attempt to usurp from Life infinitesimal parts of its Time - that merciless God - to recompose them in whimsical combinations of light and shadow, creating illusory windows to the outside world but also to the inner one. I hardly ever photograph objects, monuments or landscapes, which, if anything, are mere decorations accompanying a single protagonist: the human being, with his strengths and miseries, with his yearnings and frustrations, with his laughter and tears. And I can't remember a single one of my photographs in which, at the moment of shooting, I have not been accompanied by the deep conviction that only chance or even time are the single reason why I’m not that old man from a remote tribe, that devotee in ecstasy inside a madrassa, that beggar sheltering from the rain under the tin or that nouveau riche who disdains everything that doesn't concern him in the first person. I do not photograph what I see but what I am. I never think of my photographs as art objects or consumer items, they have nothing to do with ephemerality either. I think of them as tools at the service of a simple idea so masterfully summarized by Wayne Miller: the universal truths of being human. I firmly believe that the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us, like mirrors, some unknown part of ourselves. LOCATION San Javier SPAIN CAMERA/S Nikon D810 WEBSITE https://www.rpnunyez.com/ @RPNUNYEZ_PHOTOGRAPHER FEATURES // Red Blood Abyssinian Diaries The Whirling Dervishes of Konya Turkiye

EIGHT HOURS Enzo Crispino gives a nostalgic imprint to his project to help us imagine that the metalworking company is no longer operational. EIGHT HOURS February 15, 2021 INTERVIEW PHOTOGRAPHY Enzo Crispino INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Enzo Crispino is an acclaimed artist and interpreter of photography who defies conventional definitions of what a photographer is. Born in Frattamaggiore, a small town in the South of Italy, Enzo has been recognised for artistic merit by the International Academy of Modern Art in Rome and has been awarded the Diploma al Merito in Art by the Accademia di Significazione Poesia e Arte Contemporanea. His work has been widely published in esteemed magazines, and he has had two books published. His latest project 'Eight Hours' explores the human experience through a series of stunning photographs. As the world continues to evolve and technology advances, so do the ways in which work is performed and completed. From the introduction of automated processes to the mass transfer of production, the workforce has experienced a dramatic shift, with a significant reduction in role and increase in job losses. Through 'Eight Hours' project, Enzo seeks to commemorate and remember this ever-changing industry, creating nostalgic scenes of a once bustling metalworking company that has since been transformed into an exhibition space. His aim is to capture the memories of this type of work and provide visitors with a glimpse into the history of a place that was once full of life. Through the use of carefully chosen tones, Enzo hopes to evoke a sense of melancholic beauty, allowing visitors to connect with the past and recognize the impact that advancements in technology have had on the workforce. Through his art, Enzo invites us to discover the world around us through a unique and captivating perspective. “It was important for me to emphasise the enormous loss of skills created in these small engineering companies, which were very widespread in northern Italy where these manual skills were fundamental, while today with the digitization and robotization of the industrial process they are no longer needed. In this way we will lose forever the great training school of the mechanical engineering world. My intention is to induce all of us to question ourselves about the negative effects that globalisation inevitably brings with its relentless pursuit of profit as an absolute goal. Cultural roots and memory make us emerge for our place, our history and cultural diversification, are a heritage and a wealth that people of every place cannot afford to lose, beyond which there is only homologation.” IN CONVERSATION WITH ENZO CRISPINO THE PICTORIAL LIST: Enzo you have shared with us your special documentary project EIGHT HOURS. What is this about? ENZO CRISPINO: These fifteen photos are part of a project with the same name composed of eighty five images, which I realized in the small metalworking company where I have been working for 22 years as a turner on machine tools. The 'Eight Hours' project that I present is inspired by an idea based on two considerations: the massive transfer of production and the increasing automation of all processes in the sector that have had a strong impact on the workforce employed, both eliminating it and reducing its role. In this project I wanted to give a nostalgic imprint, using tones that would help me to imagine this metalworking company no longer operational, but only as an exhibition space; its ultimate utility function. Ample spaces are offered to visitors, where its previous appearance is shown, leaving these spaces now destined to cultivate 'memory'. TPL: The negative impact of globalisation has thrown uncertainty over our smaller industries worldwide. You personally are being impacted. What would you like the viewer to experience when they see these images? What would you like for them to take away from this? What did this project reveal about yourself? EC: When I decided to create the photographic project “Otto Ore” (Eight Hours) I posed many questions, the prevailing one was whether it would be useful to produce it. In those photos I brought a small reality out of the context of the world of metalworking, unknown to most people, made of old machinery and tools whose use is not familiar to everybody. Certainly I would not have produced anything original, since photographs and books on the world of work and industrial architecture have existed for a long time, a masterful example is the reportage on Pittsburg that the American photographer W. Eugene Smith did for Magnum in 1955, or the important research of the German couple Bernd and Hilla Becher. Nevertheless I wanted to talk about 'my' world of work, a daily school that teaches us to know and love what work is and to discover that there is also the culture of work. That culture made of territorial identity of the world of work that unfortunately we are losing with the advent of the new dogma of 'globalisation' in the 2000s. In these photos, where I have taken pictures of details of machine tools that I use every day, I wanted to connote it with a choice of a particular chromatism that would induce a nostalgic sense, even to those who observe them and are not familiar with this small but important world of work. I think that a small result has been to draw attention to such a particular subject. An Italian publisher decided to make it into an editorial project by publishing a book with the same title. The project has also received the attention of several photo magazines in Italy, France, Spain, Germany, Austria, England, and Australia, plus a personal exhibition of three months in my home town during the 13th edition of the Festival of Photography and Fotografia Europea 2019 Reggio Emilia, sponsored by the same municipal body. TPL: You do not consider yourself a photographer but an interpreter of photography? Can you explain what you mean? EC: In the beginning, photography was just a simple hobby for me, I didn't pose any questions, I just took pictures because I liked what I saw and it attracted my attention. As time went by, this hobby turned into something more important that stimulated me to go deeper. I felt the need to fill my gaps in photographic technique, but even after this study I was still dissatisfied. I didn't feel the photos I took were mine, I perceived them as anonymous, cold images, far from me without a personal identification. By reading books on photography I decided to study chromaticism and how to interpret it differently in photography. In one of them, a book by one of the great masters of Italian photography, Luigi Ghirri, the author described what photography was for him. He said, "Photography is not pure duplication or a chronometer of the eye that stops the physical world, but it is also a language in which the difference between reproduction and interpretation, no matter how subtle, exists and gives rise to an infinity of imaginary worlds." It was revelatory for me, it was the answer to my continuous dissatisfaction, his thought gave me the way to understand that photography has different languages. Taking a picture is not only to freeze forever a moment, but in it we have the possibility to transfer any emotion, feeling, or mood, artistically reinterpreting that moment with our own sensitivity and making it unique, so it will never be just a photograph as an end in itself. TPL: When did you first discover your love for photography? EC: My encounter with photography was completely accidental, during a driving vacation to England in the summer of 1990. At that time I had bought a compact Ricoh camera without any ambition but only to bring home some memories. During the vacation I remember the moment when we were in Avebury visiting the Stone Circle, I asked a friend if he would let me see through the viewfinder of his Minolta Reflex camera the scenario in which we were immersed and I clearly remember the huge wonder I felt. At the end of the vacation I decided to get started with the hobby of photography by buying my first low-cost reflex camera, a Canon 1000. TPL: In general, your photography feels incredibly personal, focusing on storytelling and pulling the viewer into your inner thoughts. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? EC: I have been asked this question many times on other occasions and this has always been a reason for me to feel embarrassed; I am afraid of appearing inappropriate, of giving a presumptuous image of myself. I don't intentionally seek to create an intimate photograph: it is a natural inclination deriving from the fascination I have for poetry. When I visit certain places (e.g. the interior of a house or a beach), before taking the photos, my eyes observe and are guided by the verses I have in my mind to build the new project, and the photos come by themselves, without ever looking for the perfect photo. I have never been interested in producing a perfect shot. I've always been looking for one thing only, namely that photography should give me an emotion even in its imperfection. That same imperfection which has always been present in my photographs. TPL: Where do you find your inspiration? EC: In 2015 I had to take a pause for reflection, unable to take pictures anymore, and feeling the need for a change, something giving me new life in taking up the camera again. While preparing my first photographic project, I realized that I needed something giving it some 'consistency' to avoid building up a simple sequence of images as an end in itself, even if well structured. I then recalled a poem by the Italian poet Giuseppe Ungaretti entitled 'Wake' that I had studied at school. I associated my photos with the verses and realized that they fit together perfectly. Since then, in each of my new projects I try (but do not always succeed) to blend poetry and photography together. I think that conceptual photography inspired by a poem, or a free excerpt of some verses, gives more depth to the work itself. This analysis process fascinates me, and I need it to find the answers I am looking for. Photography can also be not merely a matter of photos, but an association of two fields combined to create something new. Poetry has since then become my first inspiration in thinking and preparing photographic projects. Like many others, I have my favourite poets from whom I take inspiration: Alda Merini, Giuseppe Ungaretti, Pier Paolo Pasolini, Pablo Neruda, Gabriele D' Annunzio. For some time I had been trying to find my own way in color, something in which I could recognize myself, and I found it in the dominant yellow that I wanted to always be perceptible in my photos. 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? EC: I have never thought that a camera could give a particular contribution to the vision in photography and I have never chosen an SLR camera just for its brand. On the contrary, I've always had a strong curiosity in photography. It has made me realise that if you don't have photography in your mind first, you will never have it in your eyes. I've never been attracted by special techniques in taking pictures or preference of focal lengths. Depending on the situation I've always set the one I thought was most suitable. I have been photographing for seven years with a mirrorless Olympus E-M1 and always with a single lens mounted, the Olympus Pro 12-40mm f2.8. TPL: When you go out to photograph, do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both? EC: The concept that I want to transpose into images since I began to produce photographic projects is already present in my mind when I take a picture. Later on when I am on a site, I let myself be moved by my state of mind in that moment and I interpret the original concept that I had in mind. Only this way I can create a photograph that is as personal and true as I seek it to be. TPL: Have you ever been involved in the creative world before photography? EC: I've always been fascinated by art, visiting exhibitions and museums. Thanks to my passion for photography, this has given me a further opportunity to learn it more thoroughly, relating with many artists during the participation in collective national and international exhibitions representing a fruitful and important cultural exchange. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? EC: My goal is to have the chance to continue to be moved by photography more and more. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EC: For some time now I have been studying a French photographer from the past. Two of his books on the city of Paris fascinate me particularly, his name is Eugene Atget. I'm working on two projects inspired by his style, the first is on Paris, I have tried to translate his evocative atmospheres in a modern urban context where presence of man is pretty inexistent, giving a stylishly vintage yet elegant connotation. TPL: When I am not out photographing, I (like to)… EC: I love reading, a way for me to relax my head from worries, I prefer historical novels and books of poetry. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am a writer, a professional photographer and an expert in urban aesthetics with a multidisciplinary training currently living and working in Geneva. I am a big lover of cities, fascinated by order and disorder. I look to tell stories around poetry, paradox and mystery by using all the layers involving the construction of urban drama such as colors, light, shadow, prints, walls and bodies. After receiving a diploma in Architecture, a diploma in Filmmaking, a Master's degree in Territory Planning, I completed a PhD at the University of Geneva analyzing the mutual inspiration between urban modernity and the art of short film. Most of my street work is based on ordinary situations and daily events, believing that the street is the sum of small moments, rather than one general frame. However, every ordinary moment can be transformed into an extraordinary one through the lens. The banal can become the most significant only if there is observation, patience, perseverance, composition and creativity. Each portrait of a city fragment has its own and ephemeral language. That’s the reason urban spaces are magical and why the image remains so essential. I consider street photography as a visual recycling, like a sculptor manufacturing several forms from scrap metal or a designer working to give waste new life in a new use. Beauty is everywhere and the artist has to see, to learn how to see, to take his time and to believe in his art. One of my favorite strategies is simply the desire to get close and to use immersion with his subject by using a fixed wide angle lens. has won several international photography awards. HAKIM BOULOUIZ I am a writer, a professional photographer and an expert in urban aesthetics with a multidisciplinary training currently living and working in Geneva. I am a big lover of cities, fascinated by order and disorder. I look to tell stories around poetry, paradox and mystery by using all the layers involving the construction of urban drama such as colors, light, shadow, prints, walls and bodies. After receiving a diploma in Architecture, a diploma in Filmmaking, a Master's degree in Territory Planning, I completed a PhD at the University of Geneva analyzing the mutual inspiration between urban modernity and the art of short film. Most of my street work is based on ordinary situations and daily events, believing that the street is the sum of small moments, rather than one general frame. However, every ordinary moment can be transformed into an extraordinary one through the lens. The banal can become the most significant only if there is observation, patience, perseverance, composition and creativity. Each portrait of a city fragment has its own and ephemeral language. That’s the reason urban spaces are magical and why the image remains so essential. I consider street photography as a visual recycling, like a sculptor manufacturing several forms from scrap metal or a designer working to give waste new life in a new use. Beauty is everywhere and the artist has to see, to learn how to see, to take his time and to believe in his art. One of my favorite strategies is simply the desire to get close and to use immersion with his subject by using a fixed wide angle lens. has won several international photography awards. LOCATION Geneva SWITZERLAND CAMERA/S Olympus OM-D E-M5 WEBSITE https://www.hakimboulouiz.com/ @HAKIM.BOULOUIZ @HAKIMBOULOUIZ FEATURES // The Street is a Cactus

Driven by curiosity and wonder, my photography focuses on ordinary interaction of people, their life, struggle, survival and their urban environment. Exploring and documenting the human condition – one moment at a time. In my images, I try to blend out the noise of today’s increasingly fast-moving world and extract the beautiful moments of everyday life that often go unnoticed. In my street photography project, I attempted to chronicle life cycles with a universal approach: noticing all parts of life working together as time passes us by. At first, my perspective absorbed daily routine of people living in old Delhi and various parts of the NCR (National Capital Region). Those who are involved in waste management, street hawking, roadside food vendors, hustle and bustle and bustle of rush hours. From this I began to see the sheer contrast in the design of Old Delhi and other parts of NCR itself. Never before had I noticed such a beautiful homogenizing of kids, youth and aged as well as animals on the city streets , side-by-side going about their various daily routine without so much as a second glance. What seemed most intriguing was the vast similarity of the facial expressions of all of these people as well as animal kind could be. Nearly identical in instances of joy, sorrow, curiosity, anger and pain could be seen on the faces of these people that I had never even seen before, people I would likely never see ever again and understand their purpose behind their various expressions. Through my lens, I could find hidden meanings of so many little things that we disregard each day. It was the significance of recovering our composure in our busy lives. In order to keep ourselves conscious of changes, we should be conscious of our surroundings first. This is the new definition of the city life that I could derive from my photography project. Sometimes, we get lost in the flurry of life. Things are born, things happen in between, and then things are gone. But how often is this all thought about as a whole? People either dwell on the past, enjoy the present, or plan relentlessly for the future. ABHISHEK SINGH Driven by curiosity and wonder, my photography focuses on ordinary interaction of people, their life, struggle, survival and their urban environment. Exploring and documenting the human condition – one moment at a time. In my images, I try to blend out the noise of today’s increasingly fast-moving world and extract the beautiful moments of everyday life that often go unnoticed. In my street photography project, I attempted to chronicle life cycles with a universal approach: noticing all parts of life working together as time passes us by. At first, my perspective absorbed daily routine of people living in old Delhi and various parts of the NCR (National Capital Region). Those who are involved in waste management, street hawking, roadside food vendors, hustle and bustle and bustle of rush hours. From this I began to see the sheer contrast in the design of Old Delhi and other parts of NCR itself. Never before had I noticed such a beautiful homogenizing of kids, youth and aged as well as animals on the city streets , side-by-side going about their various daily routine without so much as a second glance. What seemed most intriguing was the vast similarity of the facial expressions of all of these people as well as animal kind could be. Nearly identical in instances of joy, sorrow, curiosity, anger and pain could be seen on the faces of these people that I had never even seen before, people I would likely never see ever again and understand their purpose behind their various expressions. Through my lens, I could find hidden meanings of so many little things that we disregard each day. It was the significance of recovering our composure in our busy lives. In order to keep ourselves conscious of changes, we should be conscious of our surroundings first. This is the new definition of the city life that I could derive from my photography project. Sometimes, we get lost in the flurry of life. Things are born, things happen in between, and then things are gone. But how often is this all thought about as a whole? People either dwell on the past, enjoy the present, or plan relentlessly for the future. LOCATION New Delhi INDIA CAMERA/S Nikon D7000 @SINGH_ABHISHEK999 FEATURES // Exploring Old Delhi

PICTORIAL STORY CASABLANCA NOW November 20, 2020 PICTORIAL STORY Photography and story by Melita Maria Vangelatou Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Melita Vangelatou has loved photography since childhood; in school she was the class photographer. Born and raised in Alexandria in Greece, she has lived and travelled in several different countries. She studied psychology and later photography. Her photographic work has been exhibited in her home country Greece and in Morocco, and she has published her work in several books. Her latest book, Casablanca , was published for the exhibition of the same name at the Benaki Museum of Islamic Art in Athens. In Casablanca, Melita belongs to the association Casamemoire, which was created to safeguard Casablanca’s heritage. In a photographic project to document the city's architecture with UNESCO World Heritage Site status, Melita tried to include pictures of people in the architectural photos as much as possible, gaining praise from the UNESCO committee for it. For The Pictorial List, Melita shared her story about Casablanca's people and their customs during the COVID-19 pandemic. We call her story Casablanca Now , because, although the customs she describes are timeless, the photos with people wearing masks contextualise Melita's story into the present year. I feel privileged and enriched by the experience of living in different countries even though there is always an emotional price to pay. We now live in Morocco, which is the country I have lived longer in and feel a close affinity to. Casablanca, where I live, is a modern, cosmopolitan city. It is Morocco’s largest city and its second biggest port. It has wide avenues and high-rise buildings. Casablanca's growth from a village to an international metropolis in the beginning of the twentieth century could not have happened without the influx of villagers who came to work as labourers and builders. These people conglomerated in shantytowns and working-class districts, where they lived in accordance with the same traditions they had in the villages they came from. I am interested in their way of life and try to capture their customs. I find it very captivating to see Moroccans wear their traditional dress, ‘djellaba’ and shoes, ‘babouch’, something that has been lost in most Western countries. Even though the djellaba is worn on an everyday basis in the working class districts, any dress code is accepted. In one of my photographs a young girl wearing a djellaba is conversing with her bestie wearing a bikini. In these areas people shop from outdoor bazaars, which are busy and noisy places with multiple smells and aromas emanating from the spices and finger food sold in abundance. The street sellers drag their wares in huge bundles or on carts to display them on the pavement. Apart from food, everything else is sold in these bazaars, clothes, toys and kitchen wares. Mothers have their children with them all the time. They have nowhere to leave the children, babysitters are non-existent, and the grandmothers stay behind in the villages where the family came from. The children know they have no alternative, so they are very obedient and well behaved around their parents. There are two flamboyant personages that are an integral part of these areas, the water seller, ‘Guerrab’, and the performers, ‘Gnawa’. In big crowds the suppliers of water, Guerrab, stand out because of their traditional bright red clothing and Berber wide brimmed hat with colourful pom poms. They have shallow brass cups strapped to their chest and a goatskin water bag dangling from their waist. They tend their cup to passersby inducing them to buy water. During the Pandemic nobody dares buy water to drink from communal cups. The Guerrab now still tend their cups, empty this time, supplicating for some coins from passersby. Everyone responds willingly to their begging, as they understand their plight. The Gnawa wear hats covered with cowrie shells ending in a long tassel, that they sway back and forth as they dance to the rhythm of their ‘krakebs’ (a kind of castanet). The Berbers brought the Gnawa as slaves from Sub-Saharan Africa. Slavery was abolished in 1923, and the Gnawa were converted to Islam, but they still continue their spiritual dances of possession and are practising healing rituals mixed with animistic rites. During the Covid-19 pandemic there are no festivities where the Gnawa can perform, so they play their castanets in the streets just to beg for donations. Their deeply hypnotic trance music has won international appeal and has influenced many Western musicians. The ‘Casaoui’, which are the inhabitants of Casablanca are very proud of the Atlantic, which they consider “their” ocean. They find a spot with a view and spend hours just looking at the sea. The spot they prefer is near the island of the saint Sidi Abderrahman. According to Moroccan popular belief, Sidi Abderrahman heals possessed individuals and helps women bear offspring and find a husband. The sanctuary, with its green pyramidal roof is the largest building on the island off the coast of Ain Diab and is surrounded by whitewashed houses inhabited by fortune-tellers. The whole place was closed during lockdown and now people are slowly starting to visit it again even if only to pay their respects to the saint. Moroccans value their private lives, which they protect from outsiders. Their traditional houses have no balconies or windows towards the street, and the only light and air they get is from their internal courtyards onto which all rooms open. On the beach they cover their umbrellas with sheets and towels to keep indiscreet eyes away. Camels are brought from the desert, where they are used for transport, to offer fun rides on the beach. As there are low and high tides and currents, very few people swim. Instead, they enjoy activities in the sand, like these camel and donkey rides. Children enjoy snacks and favours on the beach so there are many ambulant sellers both on the sand and on the Corniche, which is the promenade that runs along the coast of Casablanca. Traditional Moroccan women do not swim at all. They go to the beach dressed in their djellaba wearing a headscarf and often a baseball hat on top to keep the sun away. They go as far in as the wet sand to refresh themselves and watch over their children. Some choose to spend the day under their umbrellas chatting or sipping mint tea, Morocco’s traditional drink, with friends and family. In the areas where I photographed, the houses are small, so life takes place on the streets. With the pandemic, when the beaches opened, everyone swarmed there. Whole families, but mostly women and children, spend their days on the beach. Since the pandemic, this was where all the activity took place, so it was my preferred area too and I took most of my photos in this series on the beach. © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou © Melita Vangelatou My project Casablanca is an ongoing project and will only end when I leave the city for good. There is always something to learn and something new to photograph, there is a lot of information to gather and there are many photos to take. view Melita's portfolio Read an interview with Melita >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

As a documentary photographer, my work seeks to explore the lives of communities often pushed to the margins of society. For over ten years, I have immersed myself in the fascinating yet complex world of street and documentary photography, influenced by masters such as Saul Leiter, Henri Cartier-Bresson, and Josef Koudelka. What began as a journey to capture single moments on the street evolved into a deeper pursuit of storytelling through my images. I am particularly drawn to the borders and edges of society, places where cultures intersect — sometimes smoothly, other times with friction. This tension, these stories of resilience, adaptation, and struggle, continually shape my work. From documenting Serbs in Kosovo to spending time with Native Americans, I’ve had the privilege of accessing communities whose lives are rarely seen up close. Since relocating to the United States in 2022, I’ve pursued projects that reflect my passion for long-term, immersive documentation. Each project is a step further into the narratives of people whose stories often go unheard. These voices fuel my passion for social documentary photography, guiding me to tell stories that matter. WAYAN BARRE As a documentary photographer, my work seeks to explore the lives of communities often pushed to the margins of society. For over ten years, I have immersed myself in the fascinating yet complex world of street and documentary photography, influenced by masters such as Saul Leiter, Henri Cartier-Bresson, and Josef Koudelka. What began as a journey to capture single moments on the street evolved into a deeper pursuit of storytelling through my images. I am particularly drawn to the borders and edges of society, places where cultures intersect — sometimes smoothly, other times with friction. This tension, these stories of resilience, adaptation, and struggle, continually shape my work. From documenting Serbs in Kosovo to spending time with Native Americans, I’ve had the privilege of accessing communities whose lives are rarely seen up close. Since relocating to the United States in 2022, I’ve pursued projects that reflect my passion for long-term, immersive documentation. Each project is a step further into the narratives of people whose stories often go unheard. These voices fuel my passion for social documentary photography, guiding me to tell stories that matter. LOCATION New Orleans UNITED STATES CAMERA/S Sony A1 WEBSITE https://wayanbarre.com/ @WAYANBARRE FEATURES // Behind The Plants Pointe-au-Chien is not dead

I am a visual storyteller, documentary and landscape photographer who is passionate about image making and teaching. For over 10 years I have worked closely with National Geographic photographer Raul Touzon travelling the world assisting not only in workshops but also in operations and administration. I have successfully self-published 2 books - 'Jesse's Project' (2023) and 'Fields of Hope (2019). Over $9,000 generated by book sales was given to Loving Spoonful, Young Agrarians and Red Clover. The project provided support to the farming community by enabling young farmers to connect people with healthy foods across The Thousand Islands in Ontario and surrounding areas. 'Fields Of Hope' project represents the culmination of photographs created on farms in the Thousand Islands in Ontario, Canada over a period of 5 years. My goal is to create awareness of the challenges our farmers are facing every day. Praise, honor and preserve their craft while reminding the world of how essential it is for our survival. ANDREE THORPE I am a visual storyteller, documentary and landscape photographer who is passionate about image making and teaching. For over 10 years I have worked closely with National Geographic photographer Raul Touzon travelling the world assisting not only in workshops but also in operations and administration. I have successfully self-published 2 books - 'Jesse's Project' (2023) and 'Fields of Hope (2019). Over $9,000 generated by book sales was given to Loving Spoonful, Young Agrarians and Red Clover. The project provided support to the farming community by enabling young farmers to connect people with healthy foods across The Thousand Islands in Ontario and surrounding areas. 'Fields Of Hope' project represents the culmination of photographs created on farms in the Thousand Islands in Ontario, Canada over a period of 5 years. My goal is to create awareness of the challenges our farmers are facing every day. Praise, honor and preserve their craft while reminding the world of how essential it is for our survival. LOCATION Ontario CANADA CAMERA/S Sony Alpha A7R V WEBSITE https://andreethorpe.com @ATHORPEPHOTO FEATURES // Jesse's Story

PICTORIAL STORY SOCIALLY DISTANCED BEING SOCIAL IN TIMES OF SOCIAL DISTANCING July 3, 2020 PICTORIAL STORY Photography by Stefan Hellweger Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Stefan Hellweger is a photographer from Munich with a mission: documenting life in his city. The Münchner Tafel is a Munich food bank that provides food to 20,000 low-income people every week. During the weeks of Covid-19 prevention measures, operations had to be adapted to the new requirements. It was during that time that Stefan set out to document what that means for the disadvantaged and the many volunteers at the Münchner Tafel. He recorded it in his photo series "Being social in times of social distancing". His photos are close-up and honest and tell a real story. The global Covid-19 pandemic has drastically changed how and when people interact with each other. This has had repercussions on the way life in cities is organised, and the way just about all institutions (businesses, hospitals, care homes, cultural institutions, charitable organizations, etc.) go about their business. It has also had a strong visual impact on the cityscape. Who would have thought a few months ago that face masks - in European cities previously reserved to Asian tourists - would become ubiquitous, or that we would do our exercise classes at home via online platforms? THE MUNICH FOOD BANK MÜNCHNER TAFEL In 2019 the Münchner Tafel had its 25th anniversary. Stefan is a member of the Munich Street Collective, a group of currently 10 photographers, whose passion is documenting contemporary history in public spaces - to capture life in Munich as an artistic historic document for the future. Unlike many purely virtual collectives on Instagram, the members of this collective also organise street photography walks and occasionally analog exhibitions. One of their members had connections to the Münchner Tafel, and the collective came up with the idea of documenting the charity's important work. After months of photographing, they organised a joint exhibition at Munich's art centre, Gasteig , which was very well received and much to the ten photographers' joy resulted in a significant increase of donations. So, the current reportage is Stefan's second time to be involved in a documentary about the Münchner Tafel. Every Munich resident on welfare assistance can apply for an authorisation card to visit one of the 27 branches of the Münchner Tafel. The goal of the food bank is to make the lives of people living from social security a little bit easier by providing food. That way they can spend the little money they have for other purposes. For homeless people there are other organisations specialised in providing assistance. The Munich Food Bank usually has different delivery points around town, but because of the pandemic containment measures, all groceries were being distributed from the wholesale market in Sendling for several weeks. The volunteers and the guests of the Münchner Tafel now all have to keep a distance of at least two metres. “Unlike the supermarkets I shop at, this food bank was being checked for regulation compliance every day!”, says Stefan. “So, they took this really seriously.” FROM OLD TO YOUNG The corona crisis has also completely changed the composition of the volunteer team: where previously it was mostly retired people who joined the effort to provide food for the needy, it was now mostly young people (freed up from their usual occupations by Corona). They would help set up the tables, carry boxes, clean up, hand out food, and sometimes lend an ear to one of the guests wanting to chat. For some of the people who visit the food bank, it is not only a way to get food, it is also a place where they can meet other people, where they can have a conversation without fear that they will be judged. Although all guests at the Münchner Tafel receive a minimum income from the German government, they still live below subsistence level. What this means is that after basic needs are met, they often have nothing left to enjoy a bit of entertainment - a movie maybe, or a visit to a coffee shop. Coming to the food bank helps fill that gap. © Stefan Hellweger Volunteers high fiving shortly before the guests arrive. © Stefan Hellweger A Tafel guest covering mouth and nose with a scarf. © Stefan Hellweger Axel Schweiger, head of the biggest branch of the Munich food bank. © Stefan Hellweger © Stefan Hellweger © Stefan Hellweger The Münchner Tafel is now returning to most of its 27 locations, except where, because of a lack of space or for other reasons, it is not possible to comply with strict corona regulations. Such locations will continue their food distribution at the western gate of the wholesale market. view Stefan's portfolio Read an interview with Stefan >>> Instagram >>> Münchner Tafel Munich Street Collective The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

NEW YORK VISIONS Sandra Fine's journey with photography is intertwined with her journey through life, encompassing multiple photographic and art genres. NEW YORK VISIONS October 27, 2021 INTERVIEW PHOTOGRAPHY Sandra Fine INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sandra Fine photographs all around herself, so therefore her work encompasses multiple genres. Sandra has a Masters of Fine Arts from Pratt Institute in Brooklyn, New York, where she was greatly influenced by her teachers and classical photography. Beginning her photography journey as a black and white film photographer, working in the darkroom was her favorite place to be. Her conversion to working solely in digital color was a slow evolution, but as she states..."here I am!" “Street photography became a big part of my life when I started taking lengthy walks (at least 5 miles) around the city a few years ago. The walks became part of my daily routine and I loved exploring the city with my camera. The city itself has a rhythm and a buzz. It has a very complicated soundtrack that changes with the time of day and the weather. The visual vibrance is similar to the soundtrack. There is a constant visual discovery of reflections, architecture, people, vehicles and light in the street. During the quarantine I began my walks before dawn. I often felt that I was photographing silence and the remnants of people. The quiet in the streets had a sadness and beauty to it.” IN CONVERSATION WITH SANDRA FINE TPL: Sandra please tell us about yourself. SF: I was born in New York City and have spent much of my adult life there. I am a fine art and street photographer who combines my love of walking and exploring New York City with my passion for photography. I studied photography and art at Pratt Institute and received an MFA in photography. I started in 35mm black and white film photography. I hand painted on the photos and transitioned into medium format work. I eventually embraced digital photography and found my way to color, which was a gradual evolution, because for so long, I loved the darkroom. TPL: How did you become interested in photography? What does photography mean to you? Describe your style. Where or how do you find inspiration? SF: I was always interested in art growing up. My father was the family photographer and I loved looking at family pictures and albums (I still do). I took my first photography class in college and used my father's old camera which was a Minolta A-2 in a beautiful leather case. It was completely manual. My passion for photography creeped into my consciousness which led me to study at Pratt. Photography is sewn into my life. I go everywhere with my camera and shoot everything. Inspiration is not hard to find. I find it all around me, on the streets, in nature, in books, in museums, in cinema and with my family. TPL: What are some tips or advice you would give yourself if you started photography all over again? SF: That is a hard question to answer. My journey with photography is intertwined with my journey through life, so it becomes a philosophical question for me. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SF: I have many. I will name the photographers that had a particular influence on me in my early years: Andre Kertesz, Henri Cartier-Bresson, Walker Evans, Dorothea Lange, Imogen Cunningham, Lisette Model, Robert Frank, Helen Levitt. The teacher who had the greatest influence on me was Phil Perkis. I have also been influenced by painting, particularly in composition. I love Matisse for his compositions and the brilliance of his cut-outs which tell you so much about shape and color. Photography is a kind of love affair with your subject. TPL: When you are out shooting - how much of it is instinctual versus planned? SF: Nothing is planned. I go out expecting something, but there are good days and not so good days. 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?) SF: I use a Sony A7R and a 35mm lens. I like the smallness and lightness of it. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? SF: I have begun a special project with another photographer that is outside the box for both of us. I am very excited about it but feel it is in its infant stages, so it is too early to talk about. I would like to look through my years of film work, organize it, digitize it and make sense of it. I also would like to keep working and growing as a photographer and find an audience. TPL: "When I am not out photographing, I (like to)… SF: I like to swim, read, crochet, watch movies, and spend time with my husband, family and friends." PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I was born in Charlotte, North Carolina in 1955. Soon after, my family moved to a subdivision on a lake outside of Jacksonville, Florida. The lake teemed with alligators and water moccasins. Trophies of marlin and swordfish were displayed on neighbor’s walls. Spanish moss hung from pine trees. It was a wild, viceral and poetic environment; one which formed my curiosity to explore other places and people. After graduating in 1977 with a Bachelor of Fine Arts in painting from the University of Georgia, I moved to New York City to pursue a career in painting. In 1990 I moved to Los Angeles where I worked as a location scout for the film industry. Recently retired, I currently live outside of Los Angeles. These images edited from a larger (and ongoing) series produced from three trips to Italy between 2018 and 2021, capture Italians in everyday activities of work, play and prayer. Viewed together they portray little dramas, weaving a visual tapestry of Italian life. ROBERT BONK I was born in Charlotte, North Carolina in 1955. Soon after, my family moved to a subdivision on a lake outside of Jacksonville, Florida. The lake teemed with alligators and water moccasins. Trophies of marlin and swordfish were displayed on neighbor’s walls. Spanish moss hung from pine trees. It was a wild, viceral and poetic environment; one which formed my curiosity to explore other places and people. After graduating in 1977 with a Bachelor of Fine Arts in painting from the University of Georgia, I moved to New York City to pursue a career in painting. In 1990 I moved to Los Angeles where I worked as a location scout for the film industry. Recently retired, I currently live outside of Los Angeles. These images edited from a larger (and ongoing) series produced from three trips to Italy between 2018 and 2021, capture Italians in everyday activities of work, play and prayer. Viewed together they portray little dramas, weaving a visual tapestry of Italian life. LOCATION Los Angeles UNITED STATES CAMERA/S Sony A7Riii WEBSITE http://www.robertbonk.com @ROBERTBONK1 FEATURES // Little Dramas

PICTORIAL STORY COLORS OF HUZUN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. May 10, 2026 PICTORIAL STORY PHOTOGRAPHY Pedro Vidal STORY Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Pedro Vidal approaches Istanbul with a quiet assurance, shaped by a sense that the image does not need to assert itself. He came to photography after studying International Relations, and that detour matters. It brings a measured patience to his work, along with an awareness that looking is never neutral and that understanding, particularly across cultures, remains partial. Born in Brazil and now based in Barcelona, his path to the medium informs a practice attentive to the conditions of encounter. He describes photography as “a passport to places and situations where I wouldn’t be if it wasn’t through photography,” a statement that frames his practice not as possession, but about entering it in a limited and uncertain way. This position shapes Colors of Hüzün from the outset. Pedro does not attempt to master Istanbul. He circles it. He watches. He allows it to remain partially out of reach. That distance is not a limitation. It is the structure of the work. The project enters into a long history of attempts to define Istanbul, many of them marked by a desire for totality. The line by the 19th century French writer, poet, and statesman Alphonse de Lamartine, “Let my last look upon the world be upon Istanbul,” offers the city as a final image, a place capable of containing everything at once. Pedro does not confront this idea directly. Instead, he works around it, producing a sequence of photographs that quietly dismantle the possibility of such a conclusion. “It is not the intention of this work to explain, nor even to understand, Istanbul,” he writes. “The images reflect a fragment, an interpretation.” What is at stake here is not definition, but relation. Within the photographs, this approach becomes visible in how nothing is made to feel more important than anything else. Men sit around a red table, focused on their game as it simply continues. A pigeon is held open in someone’s hands, and it’s hard to tell exactly what is happening. People gather by the Bosphorus, not taking in the view in any grand way, but just going about their time. These are not decisive moments. They are ongoing ones. Time does not peak. It accumulates. This is where Pedro begins to explore the idea of hüzün . Drawing on Turkish novelist and Nobel laureate Orhan Pamuk, whose writing situates hüzün as a collective condition shaped by Istanbul’s historical consciousness, Pedro understands it not as individual sadness, but as a shared affect that informs everyday life and mediates the relationship between people and their surroundings. It is not something dramatic or easily seen, but something quieter that sits within ordinary moments. He does not try to show this feeling directly. As he says, “To photograph is to represent, and all representation arises from a particular reading.” What we see in the images is shaped by his perspective, not a fixed truth. In this way, hüzün is not clearly shown but gently felt, appearing in small gestures, in how people gather and move, and in moments that are left open rather than explained. Color plays a critical role in this structure. Pedro writes that “the colors and forms reproduced in the images are like verbs or adjectives in a poem,” and this analogy holds. The repetition of reds and blues does not embellish the scenes. It organizes them. A red table anchors a group of men. Blue surfaces extend through walls, water, and sky. These elements create a visual syntax that binds the work together while allowing each image to remain distinct. The photographs do not rely on narrative continuity. They rely on formal coherence. © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal © Pedro Vidal What the work ultimately resists is closure. It does not summarize Istanbul. It does not translate it into something easily grasped. Instead, it maintains a state of partial legibility where the city remains open and unresolved. This resistance returns us to Lamartine. If his statement proposes Istanbul as a final, encompassing vision, Pedro Vidal’s photographs suggest the impossibility of such a view. There is no last look here. What Pedro offers instead is an accumulation of encounters, fragments that refuse to settle into a singular image. Istanbul does not appear as something that can be finished with. It exceeds the frame. It continues beyond it. In allowing this, Pedro positions his photography not as a means of capture, but as a form of sustained attention. A way of remaining in relation to a place that cannot be fully known. view Pedro Vidal’s portfolio website >>> instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s and are not necessarily shared by The Pictorial List. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.