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A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. A VOYAGE OF DISCOVERY March 16, 2025 INTERVIEW PHOTOGRAPHY Fanja Hubers INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the subtle interplay of light and shadow, Fanja Hubers’s approach to photography unfolds from a foundation of personal experience, introspection, and the act of observation. Inspired by her father’s use of the camera, Fanja’s journey began in 1982 with her first camera, a Konica Pop, a camera that became an extension of her daily life. Since then, she has maintained an unwavering commitment to carrying a camera wherever she goes, capturing the moments that connect her inner world with the external environment. Her work is not only a documentation of what she sees but a continuous exploration of how personal history, memory, and emotion intersect with visual storytelling. In A Voyage of Discovery, Fanja shifts her focus inward, using photography to explore a time of vulnerability and a deep, personal reimagining of her creative process. This project serves as a meditation on identity, questioning what it means to be both a photographer and a human being. Influenced by Indian photographer Raghubir Singh’s belief that photography reflects both the inner and outer worlds, Fanja seeks to bridge these dimensions through her images. The result is a body of work that does not merely record the visible but seeks to reveal the unseen — emotional states, fleeting thoughts, and the deeper layers of human experience. Beyond this project, Fanja’s broader portfolio includes Empty Faces, One Moment in Time, People as They Are, Rediscover the First Moment of Seeing, and The Simple Beauty of Nature. Each series represents an extension of her visual inquiry, whether through candid street scenes, studies of human presence, or explorations of momentary ephemeral beauty. Her approach remains consistent in its attention to atmosphere and the emotions embedded within the act of seeing. Her work has gained recognition in international exhibitions, including the Women Street Photographers Annual Exhibition in New York (2024), the Rome Art Expo (2023), and Photography in the Visual Culture in Palermo (2023). She has also been published in Quadro Magazine, Mina Art Magazine, and other photography journals, further establishing her presence in contemporary photographic conversation and visual culture. This interview examines the foundations of Fanja’s artistic development, her evolving relationship with photography, and the ways in which her images serve as both documentation and personal reflection. Through this conversation, we explore how she constructs meaning through visual language, how her experiences shape her perspective, and what continues to drive her pursuit of capturing life through her camera. “I started capturing and recording events, especially on weekends and summers on our boat. Over time, I learned more about the technical aspects and bought my first DSLR camera during my student years. I increasingly photographed street scenes, everyday life, and funny moments. In recent years, I have come to see photography more as an art form to express emotions.” IN CONVERSATION WITH FANJA HUBERS THE PICTORIAL LIST: Your father’s influence played a role in your early interest in photography. Are there any specific lessons or philosophies he passed down that you still carry in your work today? FANJA: Besides the fact that he also used to shoot in black and white and had a certain calmness in his compositions, it was mainly the technical aspect that stood out. When I passed my final exams, he took me to Paris. Because of his fear of heights, he didn’t dare go to the top of the Eiffel Tower. On the first floor, he explained how his camera (a DSLR) worked, and I was allowed to go to the top alone to take photos. From that moment on, I wanted a camera that I could set entirely manually. TPL: How has growing up in Utrecht, the Netherlands, shaped your visual perspective and artistic approach? FANJA: Utrecht is a beautiful city full of life. But in other cities, I felt more anonymous, and I sought that out more often—until recent years. After visiting many other cities, I have come to appreciate Utrecht even more. TPL: You emphasize carrying a camera with you at all times — is there ever a moment where you feel capturing an image would interfere with truly experiencing it? FANJA: I noticed that during my first trip to India. I had to be careful not to experience the entire journey through my viewfinder. That’s when I decided to occasionally put my camera away so I could fully experience the trip. And I know you always have to pay attention to that. TPL: Your project ‘A Voyage of Discovery’ is deeply personal, exploring vulnerability and self-reinvention. What inspired this particular shift inward, and how did the creative process evolve throughout the project? FANJA: In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. I wanted to express this in a creative way because I was increasingly discovering that photography is not just a way to document life but also an art form to express emotions. I was (and still am) quite insecure about this, but with the feedback of an inspiring photographer, I gradually gained the confidence to share more of my work. Since I started photographing with more emotion, I have also gained recognition for my work. TPL: Do you see your photography as an act of storytelling, or is it more about capturing fleeting emotions and moments in time? FANJA: Both. Photography has become more of an art form and a passion. But I must not forget to capture memories, such as my son growing up. For me, the essence of photography is still about capturing moments so that later, you can relive memories when looking back. In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. TPL: Your work captures the subtleties of human presence. Do you feel that photography has changed the way you see people in everyday life? FANJA: People don’t change, but how you see them might. This is also strongly dependent on how I feel that day. TPL: Raghubir Singh’s philosophy on photography bridging inner and outer worlds is a key inspiration for you. What other artists inspire you and your photography and why? FANJA: Valerie Jardin — I really love the romance in her photos. Elliot Erwitt—for his humorous images. But also, Anton Corbijn, when it comes to capturing emotions. TPL: How does seeing your photography in print — whether in exhibitions, magazines, or books — change your relationship with the images compared to viewing them digitally? And what are your thoughts on the role of printed media in an increasingly digital world? FANJA: I think both are important. Digitally sharing is a good way to eventually end up in an exhibition or a book. And that is ultimately more valuable than the fleeting nature of the online world. But social media also allows me to meet others from around the world, from whom I can learn and gain inspiration. TPL: As you look to the future, how do you see your photography evolving? Are there particular themes, techniques, or approaches you are eager to explore? What are your aspirations for your photography, and where do you hope to see yourself creatively in the next 3–5 years? FANJA: I would like to further develop the series ‘A Voyage of Discovery,’ and ultimately, it is a dream of mine to have a solo exhibition in my own country, so that friends and family can visit it as well. I hope I can continue like this and that I will retain my passion for photography. TPL: What would we find in your camera bag? Is there anything on your WishList? FANJA: I have no camera bag, just one camera, the Fuji x100vi, around my neck. For a backup camera, family shoots and video I have a Fuji S10 with some interchangeable lenses. But for 99% I use the Fuji X100vi. TPL: “When I am not out photographing, I (like to)… FANJA: ...Enjoy life with family and friends, my work as an educator, and play the piano.” 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.

DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. DAYDREAM IN MEMORIES OF YOUTH January 12, 2025 INTERVIEW PHOTOGRAPHY Stephanie Duprie Routh INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE We have the unique opportunity to share an evocatively profound new publication by photographer Stephanie Duprie Routh. Stephanie is an Austin-based artist and photographer, who explores womanhood, memory, and identity through her authentic and expressive visual storytelling. Her latest work, “Daydream in Memories of Youth”, serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. Stephanie’s photographs do more than capture moments, they create textured narratives that reveal dualities between past and present, exterior and interior, beauty and aging. Collaborating with poet Dalya Sachs and olfactory artist Lula Curioca, Stephanie brings her viewers into a multisensory dialogue that enriches her exploration of womanhood’s many facets. Dalya Sachs’s “Grammar of Possibility” series complements the images with double-entendre poetry, adding another layer of meaning, while Lula Curioca’s custom fragrance for the project deepens the immersive experience, highlighting scent as a subtle yet powerful reminder of sensuality and memory. Educated in Environmental Design at Texas A&M University and Photography at the Savannah College of Art and Design, Stephanie’s journey from architecture and public service to the art world is reflected in her precise, singular approach to photography. Stephanie’s work has been widely recognized, appearing in permanent collections and exhibitions across the globe, and is sought after for its distinctive, introspective quality. She avoids digital manipulations like double exposure, relying solely on her camera to capture scenes with authenticity. Her preference for a darker palette lends a quiet intensity to her work. Through “Daydream in Memories of Youth”, Stephanie Duprie Routh invites viewers to contemplate beauty, resilience, and nostalgia, offering a nuanced portrait of the self that bridges youthful allure with the wisdom of age. Her artistry continues to earn her accolades and inspire audiences, positioning her as a compelling voice in contemporary conceptual photography. “What I need to think about or examine in my own life subconsciously emerges in my work. After about four years of image-making, I started to see the questions of sensuality and aging. I began the editing process to achieve a tight, cohesive portfolio specific to these ideas. Six years later Daydreams started its public journey in the world via an exhibit and the book.” IN CONVERSATION WITH STEPHANIE DUPRIE ROUTH THE PICTORIAL LIST: In “Daydream in Memories of Youth,” you delve into themes of sensuality, memory, and identity. Could you share how this idea emerged and what drove you to explore it visually? STEPHANIE DUPRIE ROUTH: In 2018, my personal life was unusually complicated. I was navigating death and mortality, both in the literal and metaphorical senses. This prompted me to take stock in who I was, both currently and in the past, whether there were regrets, and who I wanted to be from then on. Fast forward to December 2018 in Miami: I was in a taxi at midnight looking out of the window and saw a woman walking the opposite way through construction scaffolding. I quickly snapped 2-3 frames. When I downloaded the images, I thought ‘she looks like a ghost of my past’ — someone I used to easily be but also someone I still identified with and wanted to be in my future. That was the first image of the project although I didn’t know it then. I photograph without specific ideas in mind and then look at the images I’ve made over time to see what my camera is seeing. What I need to think about or examine in my own life subconsciously emerges in my work. After about four years of image-making, I started to see the questions of sensuality and aging. I began the editing process to achieve a tight, cohesive portfolio specific to these ideas. Six years later Daydreams started its public journey in the world via an exhibit and the book. TPL: Your work often portrays a layered view of womanhood and self-reflection. What aspects of womanhood do you find most compelling to represent, and how do you approach expressing these ideas through photography? STEPHANIE: Being a woman embodies many emotional, physical, and psychological characteristics. The aspects I find most important to discuss are those connecting the mind and body. In Daydreams, the specific topics are sensuality and sexual empowerment. The expression of these attributes are often culturally deflated or suppressed. Creating this work is my attempt to remove surrounding taboos. To express these ideas in photography, I create imagery that invites the viewer to desire, remember, or long for intimate moments. I want to initiate a dialogue that broadens the definition of what is socially and publicly acceptable. TPL: You mentioned a desire to convey "the duplicity of beauty and age." How do you feel this tension influences or enriches the viewer's experience of sensuality in your work? STEPHANIE: As I get older, I notice how much society, particularly in the U.S., values beauty and equates it with youth. Sensuality tends to be overlooked more often than not. Many people who connect with my work are at a stage in life where they are seen as wise rather than beautiful or sensual, regardless of how they look externally or feel internally. Our sensual nature doesn’t disappear—it stays with us through memory or personality. The images in this work focus on the beauty of youth to purposefully ask the viewers to reflect on their own sensuality. TPL: You uniquely capture all your imagery with a single click, without relying on double exposure, Photoshop, or AI. What challenges or benefits does this technique present, and how does it align with your artistic philosophy? STEPHANIE: Most assume I use software interventions, so I have recently started telling people how I make the images. The way I photograph is born out of personal preference. I do not like to sit at a computer for hours on end; I would rather be in the world photographing so one-click, in-camera is my way of staying outside. This technique creates images that encourage the viewer to slow down and spend more time with the work. It helps them ask questions or be perplexed by what they see. Some of my images are complex and can be confusing. This is an artistic thumbprint because I can be the same: complex and confusing. TPL: With a preference for a darker palette, how do you feel this color choice enhances the emotional or thematic undertones of your work, especially in projects exploring intimacy and nostalgia? STEPHANIE: When considering intimate moments, I think of introspection or of quiet, dark, dimly lit spaces. “Under the cover of night” or “a kiss stolen in the dark” are societal phrases that refer to vulnerability or clandestine moments. I associate the past with darkness, and I think society does too. When we talk about “the light at the end of the tunnel” we are moving forward out of the darkness towards a new concept. When we talk about leaving things behind, we say it ‘fades into the past’. These linguistic references are translated into a darker palette that helps transport the viewer into more intimate places, reinforcing the underlying theme of women as sensual beings. TPL: You have chosen to publish your book with different colored covers, please explain the importance of the change and the meaning of the colors you have chosen. STEPHANIE: The covers of the book are specific references to a place. I wanted to have a distinction between the four locations where the exhibit will be shown: Austin, Texas (Sep 2024-Oct 2024), New York (April 2025-May 2025), Mexico City and California (both in 2025). When I began the project, the pink/green combination of Austin kept appearing in my life. I believe the universe will give you signs you can choose to accept or ignore. Austin is in a surge of growth and although it has been around for 185 years, it feels like it is being re-born into a different kind of city. The pink cover is a double entendre: birth and flesh. The interior green Pantone wash references the vibrant outdoor spirit of Austin. The green also represents the breadbasket of the U.S. and one of the most productive agricultural regions in the world: California. Dalya Sachs, who splits her time between California and Texas, has a vineyard and gardens which are lush and verdant. A green cover for California seemed fitting. I wanted to have a connection between the books, so the Austin (pink) and California (green) covers share the same colors between the two. For Mexico, I posed a few color options and through conversation with Lula Curioca, based in Mexico City, I decided the maroon cover represents the country in a more provocative way than the red of their flag. The Pantone wash inside is maroon, which is shared by the New York City cover, which is black. New York has long been referenced as ‘Gotham city’, a nod to the gothic, dark and gritty. Ironically, Washington Irving coined New York as Gotham City in his publication Salmagundi, which is where the Daydreams work will be exhibited in New York! The Mexico and New York covers share maroon and black as their joiners. Even after all this thought, people buy books based on what they like and not what I think! I hope my vulnerability opens the door for others to grasp what they want or feel without being shamed into thinking sensuality is something to oppress. TPL: You collaborated with Dalya Sachs, who contributed poetry, and Lula Curioca, who crafted a unique scent. What inspired you to bring in these specific sensory and literary elements, and how do they enhance the themes of your project? STEPHANIE: Women are sophisticated creatures. Mimicking their multifaceted nature, I felt this project would be better received if people could use more than one element to ingest the work. I am a visual person. Having words opens the project to others who absorb through hearing. (There is a video element in the exhibit where the poems are read in conjunction with the imagery.) Psychological projects such as this one need words to expand the work and help direct viewers towards the inherent themes. Including a scent was serendipity. I found Lula in an internet rabbit hole I was diving into and realized she had already collaborated with artists. Smell is one of the most powerful triggers for nostalgia and the Daydreams project leans heavily in that direction. I wanted the exhibit to take viewers to an intimate, remembered place and a scent can move people’s minds quickly. TPL: In "The Grammar of Possibility," Dalya uses grammar to create double meanings and enrich your images. How did this approach add layers to your visual storytelling, and did it influence your perception of your own work? STEPHANIE: When I began working with Dalya, we spent days uninterrupted going through each image, talking about what I felt the image was about and what I wanted to convey. Then I walked away with no direction to Dalya about what to write. I did not read the finished work until every poem was complete. Because of the process chosen, her words didn’t influence how I made the imagery or the edit of the work. However, I do think she crawled into my headspace and made verbal what I am trying to convey visually. TPL: With scent being such a powerful, intangible sense, how did Lula’s olfactory creation impact the way you and your viewers experience "Daydream in Memories of Youth"? STEPHANIE: I had the almost the same process with Lula: a lot of discussion upfront with no direction to her about how to proceed. We met to sniff molecules so she could hone in on what I wanted to convey with the work. Then, she created a powerful scent that triggers so many emotions and memories for me. I could live inside the scent all day, every day. Art is subjective and not everyone feels the same about the smell. What the olfactory creation does do, however, is stir a visceral reaction in people and that’s good art. TPL: You describe sensuality as multi-faceted and timeless in your work. How has your own experience with sensuality and self-perception evolved, and how does that influence what you want viewers to feel? STEPHANIE: Daydreams is one of several projects I am working on that fall under the ‘women-sensuality’ umbrella. As I explore these intersections, the more I recognize I use my camera to address my own sensuality and identity. These psychological projects are my personal therapy. This has and continues to empower me. I have more confidence to publicly own who I am and what I want. I hope my vulnerability opens the door for others to grasp what they want or feel without being shamed into thinking sensuality is something to oppress. TPL: You have mentioned the power of nostalgia in your work. How do you balance capturing the past and presenting it alongside contemporary narratives in a way that feels relatable to a modern audience? STEPHANIE: Looking back is a way to simultaneously remember and go forward. The nostalgia in my projects is merely a springboard. I use the past as guideposts to commemorate and/or direct the viewer towards an idea. It is the viewer who (subconsciously) moves the image into their present-day life. In this way, the viewer remembers, relates to something personal, and then desires to keep (or forget) it in the present moment or make it happen again in the future. Time is fluid. The boundaries between past, present, and future are not fixed but interconnected, allowing for a more flexible understanding of moments and memories. Rather than creating a balance that feels relatable, I tried to create a nebulous space that allows everyone to move freely through their own time continuum. By not offering a clearly defined or universally relatable experience, I sought a space that feels abstract and versatile. Each person is encouraged to interpret and navigate the work uniquely, based on their personal sense of time and experiences. It prioritizes individual reflection and freedom over shared structure. TPL: “Daydream in Memories of Youth” has been recognized internationally. How do you envision your work’s legacy, especially with its emphasis on preserving the beauty of authenticity, memory, and age? STEPHANIE: The Daydreams project explores a topic that is timeless. Beauty, memories, and aging have been considered long before I created this work, and they will be studied indefinitely. I am hopeful that future discussions of my work reflect its authenticity and its attempt to bring sensuality while aging into conversation without judgment. At some point, the entire Daydreams project will become a memory and will age just as I do. What will be left is a beautiful book alongside those memories. No matter my age today — I will always be younger than my future self. As such, the portfolio becomes a self-fulfilling prophecy of the project itself: a daydream in memories of youth. 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 photojournalist and a street photographer. I was born in Malta in 1966 and from a young age took an interest in photography with the only available medium at the time which was film. When I was 18 I joined the armed forces. In 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the Official Photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I began a career as a freelance photographer and as a photojournalist for a leading newspaper. I have been shooting street photography for over ten years, organising street photography workshops since 2015. I also lecture locally on Adobe Lightroom and Photoshop. In November 2016 I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020 Japan. MARTIN AGIUS I am a photojournalist and a street photographer. I was born in Malta in 1966 and from a young age took an interest in photography with the only available medium at the time which was film. When I was 18 I joined the armed forces. In 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the Official Photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I began a career as a freelance photographer and as a photojournalist for a leading newspaper. I have been shooting street photography for over ten years, organising street photography workshops since 2015. I also lecture locally on Adobe Lightroom and Photoshop. In November 2016 I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020 Japan. LOCATION Rabat MALTA CAMERA/S Canon R6 WEBSITE https://martinagius.com/ @MARTINAGIUS_STREETPHOTOGRAPHY FEATURES // City Double Life

I am increasingly enjoying the moment on the streets and love to immerse myself in it. Always looking for motifs. Slowly strolling around and observing silently without evaluating the situation. The focus on the essentials to separate the important from the unimportant. At the end of the day, I like to be surprised by the captured scenes and motifs. SVEN SVENSØN I am increasingly enjoying the moment on the streets and love to immerse myself in it. Always looking for motifs. Slowly strolling around and observing silently without evaluating the situation. The focus on the essentials to separate the important from the unimportant. At the end of the day, I like to be surprised by the captured scenes and motifs. LOCATION Hamburg GERMANY CAMERA/S Ricoh G3 WEBSITE https://www.svensonphoto.com/ @SVENSONPHOTO FEATURES // Creative Solutions

For me, photography is more than a medium; it is oxygen. It offers renewal when life feels heavy, clarity when thought becomes clouded, and connection where distance exists. On the street, I find both unpredictability and rhythm, a balance between patience and instinct. Each frame becomes a negotiation between what can be composed and what must simply be accepted as it arrives. My practice now extends toward long-form documentary work, engaging with the social, political, and cultural textures of contemporary life. The camera allows me to move from personal meditation into broader storytelling, weaving together images that speak of both individual experience and collective memory. At its core, my photography is an attempt to preserve the unrepeatable. SUVAM SAHA For me, photography is more than a medium; it is oxygen. It offers renewal when life feels heavy, clarity when thought becomes clouded, and connection where distance exists. On the street, I find both unpredictability and rhythm, a balance between patience and instinct. Each frame becomes a negotiation between what can be composed and what must simply be accepted as it arrives. My practice now extends toward long-form documentary work, engaging with the social, political, and cultural textures of contemporary life. The camera allows me to move from personal meditation into broader storytelling, weaving together images that speak of both individual experience and collective memory. At its core, my photography is an attempt to preserve the unrepeatable. LOCATION Howrah INDIA CAMERA/S Nikon Z5 WEBSITE https://flickr.com/photos/106557156@N07/ @SUVAM2099 FEATURES // The Pulse of the Street

BEAUTIFUL COINCIDENCES What started as a beautiful coincidence, Adrian Whear then started to see and create an understanding, vision and style for his photography. BEAUTIFUL COINCIDENCES April 29, 2020 INTERVIEW PHOTOGRAPHY Adrian Whear INTERVIEW Bill Lacey Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Adrian Whear is an autodidact from Melbourne who is renowned for his captivating street photography. He had a burning curiosity and passion for photography, but it wasn't until his travels to Ethiopia and Morocco that Adrian developed a deep understanding of the medium and its potential. His ever-evolving style has earned him the admiration of critics around the world. But there is another side to this story. In 2016, Adrian's life took a dramatic turn when he was involved in a serious accident while commuting home from work. Fortunately, three years after the accident, Adrian still found it within himself to seek out adventure and inspiration. He began a journey to Hoi An, Vietnam, where he met Etienne Bosset, a travel photographer who taught Adrian valuable lessons about travel and documentary photography. With newfound insight and understanding, Adrian returned to his beloved hometown of Melbourne, determined to capture life through his lens. Through his intimate exploration of the streets and alleyways, Adrian has crafted a unique vision that transcends traditional boundaries. In this article, we will explore Adrian's journey - from his accident to his photographic endeavors in Melbourne - and how this unlikely autodidact has become an inspiration to photographers around the world. “My journey from happy snapper to more serious photography probably started in 2015 when I travelled through Ethiopia and Morocco. I took a snap in Casablanca of a woman walking past a mural that looked exactly like her, at that at the time I thought it was just an incredible coincidence that I captured. I have since learnt that these 'coincidences' are all around us, we just have to be attuned to our surroundings.” IN CONVERSATION WITH ADRIAN WHEAR THE PICTORIAL LIST: Adrian, please tell us something about yourself and how it influenced you finding your way into street photography? ADRIAN WHEAR: Life often takes unexpected turns. For me, that was 2016, when I went through every cyclists worst nightmare. On my commute home from work I was hit by a car. I suffered some quite severe facial and dental injuries. It took three years, three surgeries and a team of dental professionals (oral and maxillofacial surgeons, endodontists, prosthodontists and my trusted dentist) to repair my mouth. It was after my second surgery in 2017, that I decided I just needed a break from it all, so I decided that 10 days in Hoi An would be good for my mental and physical well being. In Hoi An, I joined a local travel photographer, Etienne Bosset on one of his photo walks. A lot of what Etienne said about travel and documentary photography resonated with me. Upon returning to Melbourne I started to make the effort to go out and walk the streets and alleys of my hometown Melbourne and its inner suburbs, and in the process I started to discover my home cities true soul. From there I just photographed whatever captured my attention, slowly forming an understanding, vision and style for my photography. Where do you find your inspiration? From the world around me, documentary photography has taught me to be much more attuned to my surroundings. I want to capture and show this world that I see, that is right there in front of people yet it is in their blind spot. Also I enjoy following the work of some amazingly talented photographers on Instagram. TPL: Has your style of photographing changed since you first started? AW: Most definitely, I would say my street photography has matured more towards minimalism and artistic street photography whilst I have a growing interest for documentary photography. TPL: Who are your favourite artists/photographers and the reason for their significance? AW: I am not a street photographer that has followed the works of the renown artists of the genre, nor have I completed any photography qualification. I am a mostly a self-taught amateur photographer. TPL: Where is your favourite place to photograph? AW: Well Melbourne is where I live and I so love its many small grungy alleys, they have so much character. When travelling, anywhere in Asia for its mix of culture, people and food what more could you want! In 2019, I spent an incredible three weeks in Bangladesh but that story is for another time. From the world around me, photography has taught me to be much more attuned to my surroundings. I want to capture and show this world that I see, that is right there in front of people yet it is in their blind spot. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AW: So my photography being of the street and documentary genre. Of course the equipment is important, a SLR camera, and knowing how to use it in full manual mode, gives you full control to achieve your creative vision. But it is the creative vision that is what makes you a photographer not the equipment. I'll use a cycling analogy here, Chris Froome is a four times Tour de France winner. Now put me on Froome's bike and Froome on a cheap department store bike. Who would win this race? Obviously Froome, as the best cycling equipment in the world would not give me the talent of Chris Froome. You must work hard at your craft, trying to develop your skill and knowledge each and every time you go out to shoot. So if someone were starting, I would say to to concentrate on your observation skills (sort of like active listening but from a visual sense) and to let go of technical perfection, story is more important. TPL: What important skills do you think you need to become a good street photographer? What’s your tips or advice for someone in your genre? AW: For me, the most important skills of the street photographer would be: Observation - already discussed Interpretation -Take the scene and find the story then compose to tell your story. Try to predict how people will interact within your scene (do they create long shadows, can you use the shadows to create a silhouette?). Visualisation - Imagine what you want the final image to look like. Will it be black and white, high key, low key etc. Then photograph with that image in mind. Patience - I often head out so excited to shoot and spend the first half an hour to an hour snapping pics just for the sake of snapping pics. Slow down, be patient, take your time and concentrate of being an observer. Once you have your scene then wait and wait and wait...for the right subject to complete your story to enter the scene (maybe someone in a hat or with an umbrella). You might need to revisit a location on a number of occasions to capture that shot. My tip for a street photographer get a good pair of walking shoes. You've just gotta walk and walk and walk. Get out and about to see the light at different times of the day, and to find locations that you might want to revisit. Also remember to enjoy the walk. You will not always capture interesting photos but you can always have a great walk! TPL: Have you ever been involved in the artistic world before photography? AW: Nope my background is in Science. Before photography I would have argued that I did not have one creative bone in my body. As a kid I even failed in drawing stick figures! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AW: Well actually yes, I recently collaborated with a Singaporean photographer on an urban dance project. He travels to different cities to photograph dancers in urban scenes. He asked me to collaborate on his Melbourne shoots. I always have shot candid so it was interesting to observe him structure and build a scene. We photographed a range of dance styles including ballet, jazz, contemporary, break dance and even krumping (which I had not heard of until this project). TPL: "If I wasn't photographing what would I be doing?... AW: Easy one, cycling and watching my beloved Western Bulldogs." 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.

BOOK ZOONOSIS December 9, 2022 BOOK PHOTOGRAPHY Adrian Pelegrin TEXT Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Meet Adrian Pelegrin, a photographer originally from Barcelona, Spain, but currently living and working in Playa del Carmen, Mexico. He focuses his work ‘The Hyperreal Archive’ exploring and investigating the post-photographic edit and manipulation of images to create an awareness of fake news or an unreal reality. With the obsession of social media and its integration into our culture, Adrian studies the changes taking place in our society due to the cause of disinformation, and creates images reflecting the effects on society. “My work is about mass media and how it creates new realities. I photograph archive videographic images, working mainly from television broadcasts. I make long-exposure photographic kinescopes that I later edit through digital post production.” Adrian found the events of the pandemic and the biases of the media’s coverage along with their non objective point of view and transmitting of misinformation, to be the new focus for his exploration. His insightful study and research has culminated in his new book ‘Zoonosis’. Adrian shares with us how this book came to fruition. “ZOONOSIS is a book gestated in pandemic times. When the global crisis broke out and the entire world was quarantined, I decided to start the task of documenting all the events that were coming to us through the media and online press. The book is the culmination of two years of tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. Also, I have supplemented the visual and journalistic content with a concise historic-statistical investigation dedicated to synthesizing what happened as much as possible. At another level, I also contribute with a thesis, in a veiled way, juxtaposing different allegorical moments that the reader-observer will be able to guess when contemplating the book’s structure as a whole.” Two years in the making, a 160-page photobook with 70 pictures and shocking headlines, Adrian's insightful documentation and brilliant visual storytelling of the events of the pandemic brings us the harsh reality we are confronted with everyday, and how it allows for the distorted views of our future. You can pre-order his book via his website - www.adrianpelegrin.net We have the fortunate pleasure of interviewing Adrian, where he articulates in more detail about his extraordinary process in photography, and how it inspired this wonderful project and new book he has created. READ INTERVIEW CLICK ON IMAGES TO ENLARGE

NOT FULLY VISIBLE Nsiries allows himself through his photography to create and visualise a bridge that connects his very hidden innerself with the real world. NOT FULLY VISIBLE February 17, 2023 INTERVIEW PHOTOGRAPHY Nsiries INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Hidden away in the Sicilian countryside, Nsiries has always considered art to be a way of expressing his innermost thoughts and emotions. From his childhood days, he has been an incredibly creative person, using art as a form of therapy for his personal wellbeing. Today, this creativity manifests itself in various media – from photography to videography and music production. As he brings his camera along on his journeys, Nsiries is constantly inspired by the sounds of the sea, the sunsets and the Sicilian soul. His photographs are instinctive and spontaneous, as he manages to capture the essence of his subjects and contexts. He considers his photography to be a symbolic language that bridges the gap between his innermost thoughts and the real world. For Nsiries, art is more than just a hobby – it is a fundamental part of his existence. Through his artistic pursuits, he hopes to show others the beauty that can be found in the ordinary, and to provide the world with a glimpse into his creative soul. “I am really into the faces that are not fully visible and it particularly represents me. I am inspired by surrealism; I think it's interesting to generate a certain feeling of ‘mystery’ within the observer. The contrast between visible and apparently visible generates some kind of interest in the observer. A feeling that opens the doors of imagination, disorienting the common sense that makes things already fully visible.” IN CONVERSATION WITH NSIRIES THE PICTORIAL LIST: Hello Nsiries...welcome to The List! Please tell us about yourself. NSIRIES: I am a law graduate and I am also preparing to take a law specialisation. I have always been creative person: my first goal when I was a child was to become a painter. I was also attracted to all kinds of technologies and for this reason my parents bought me, at fourteen, my first personal computer. This made me able to explore new ways to be creative, starting to experiment with videos, images, and music art. In the last few years, I have come to understand that creativity is an integral part of my existence; it allows me to escape from the real world and explore an intimate form of meditation. TPL: Could you tell us how growing up in Sicily has inspired your work today? What special qualities unique to your home country influence both your photography and the way you portray your community? N: Growing up in Sicily has inspired my work in an indirect way. Sicily is a big island, in the middle of the Mediterranean sea; a place that offers picturesque landscapes, beautiful people, and delicious food. When you are in front of something special you want that specialty in what you do, so I always tried to make something that can be described as unique; something that you can find only where it is shown. Consequently, what I offer to my community is the result of something I felt in the face of something extraordinary (in a sentimental way). TPL: What would you say first drew you to photography? Can you remember that first moment/s that you pressed the shutter that sparked your passion? N: Since quality is a must, and since my phone wasn't good enough to shoot videos and photos, at fifteen years old, my parents bought me a small camera. By doing so, I was able to make my creative language more flexible. Even as I started taking photos with my phone, my passion only began to blossom once I started to learn what photography can do, how it can make me feel, and how powerful it can be. I believe this is more of a spiritual moment than a tangible one, and it only came about with time. TPL: Talk us through the narrative of NOT FULLY VISIBLE. When and how did this project first manifest for you? What was the inspiration? What journey are you taking us on? What have you learned from this project that has surprised you? N: NOT FULLY VISIBLE represents me specifically. This is not only a project, but it is probably my identity since most of my work depicts people who are 'not fully visible'. All began with the advent of social media, where everything is about aesthetics, and not only in an artistic way. I began my social media experience by putting things in front of my face. Then I experimented with different types of "face hiding" in a more creative way. The impact of this process is incredible because social media is lived by people who show everything, and people who see everything. So, when you see something that is not fully visible, you become curious about it. What's behind? Who is he? Rene Magritte said: "We always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present.” Now the “Not fully visible” represent me, in particular. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? What importance does storytelling or key themes hold for you in your photography? N: I can describe my photography as cinematic and mysterious at times. To be original, I'm going through my creative flow and trying to just be without trying to be. I think storytelling and themes are important, but because I'm instinctive, I don't usually think about what to do next. Creativity is a flow to me. TPL: There is an intimacy with your subjects, an up close and personal engagement. Do you know your subjects? Please tell us about the emotion you share with your subjects, and what this brings to your work. N: Most of the time the subjects already know me and my photography style. Therefore, sometimes I know my subject, but most of the time I'm with people I don't know. In all of these cases, I always encourage them to be themselves. It's important because not all of them are necessarily camera friendly, and since I'm not camera friendly too, I can understand what they feel. As a result, the most important thing is that they feel comfortable, that they feel like themselves. In this way, I am able to make a sincere "collaboration" with my subject. When you see something that is not fully visible, you become curious about it. What's behind? Who is he? NOT FULLY VISIBLE represents me... TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? N: I think that you should see what Alessio Albi and Paolo Raeli make. Alessio Albi is amazing. He has creativity, quality, and most of the time lights are well used; Paolo Raeli is Sicilian too, and he is more of an emotive person. He takes pictures that make you dream and transport you to an immersive world full of emotions. TPL: How do you educate yourself to grow in your photography? N: If you try more, you will fail more and grow more. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What do you use now? How does this equipment play a part in achieving your vision in your photography? Do you have anything on your wishlist? N: My first camera was a Canon 700D, and now I have a Sony A7. Sony makes me able to capture better details, and to manage better shadows and lights. On my wishlist there is the expensive Sony A7iv. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in three years? N: For sure...I am working on a special project at the moment, but I can’t say anything! Regarding my goals, I'd like to meet new people, collaborate, and work with other photographers. In three years I hope to have my photos shown in galleries. TPL: Is there anything in particular you would like the audience to know about your work that we haven’t explored here yet? N: No. Your questions were appropriate enough. TPL: On closing, we always ask our artists to finish this sentence - “When I am not out photographing, I (like to)… N: Studying. I’m a Law graduate and I’m going to take a law specialisation. I also work in a big Italian financial services holding company operating in the insurance market. I make music and videos too.” PORTFOLIO 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.

My journey into the arts began with music. With a Level II Academic Diploma in Cello, I spent a decade performing as an orchestra professor and chamber musician, immersing myself in the world of sound, rhythm, and harmony. But creativity is fluid, and over time, my artistic expression found a new voice. For years, I worked in Visual Communication, always drawn to painting and the visual arts. Photography entered my life unexpectedly, a gift that sparked an unforeseen transformation. From the moment I picked up my first camera, I realized that I wasn’t interested in documenting the world as it is, but rather in reimagining it. Photography became my language — a way to translate emotions, memories, and perceptions into images that blur the line between reality and illusion. I began with documentary reportage, capturing moments of truth and human experience. But as my artistic voice evolved, so did my approach. My images now live in a space where layers of meaning intertwine, where elements dissolve and reconstruct themselves, creating fragmented realities that reflect my inner vision. This journey has led me to international recognition, with Honorable Mentions in competitions such as the Monochrome Photography Awards, ND Awards, Monovisions Photography Awards, Chromatic Awards, Tokyo International Foto Awards, IPA International Photography Awards, BIFA, and Trieste Photo Days. My work has been published in books and online magazines, further solidifying my place in the photographic world. LUISA MONTAGNA My journey into the arts began with music. With a Level II Academic Diploma in Cello, I spent a decade performing as an orchestra professor and chamber musician, immersing myself in the world of sound, rhythm, and harmony. But creativity is fluid, and over time, my artistic expression found a new voice. For years, I worked in Visual Communication, always drawn to painting and the visual arts. Photography entered my life unexpectedly, a gift that sparked an unforeseen transformation. From the moment I picked up my first camera, I realized that I wasn’t interested in documenting the world as it is, but rather in reimagining it. Photography became my language — a way to translate emotions, memories, and perceptions into images that blur the line between reality and illusion. I began with documentary reportage, capturing moments of truth and human experience. But as my artistic voice evolved, so did my approach. My images now live in a space where layers of meaning intertwine, where elements dissolve and reconstruct themselves, creating fragmented realities that reflect my inner vision. This journey has led me to international recognition, with Honorable Mentions in competitions such as the Monochrome Photography Awards, ND Awards, Monovisions Photography Awards, Chromatic Awards, Tokyo International Foto Awards, IPA International Photography Awards, BIFA, and Trieste Photo Days. My work has been published in books and online magazines, further solidifying my place in the photographic world. LOCATION Parma ITALY CAMERA/S Olympus E-M5 Mark II WEBSITE https://www.luisamontagna.com/ @LUISAMONTAGNAPHOTO FEATURES // That's How It Is

I am an Israeli based photographer and an electrical engineer by profession. Following a health crisis, I found myself seeking treatment in India and went through a life-changing journey. After returning home healthy I decided to realise my dream and learn photography. I am fascinated by the world of photography ever since, and I am especially keen about people photography of any kind, whether it is portraiture, street photography or culture photography – anything reflecting the humanity that we all share. For me, the act of photography has a meditative quality, feeling unified with the world around me at the present moment. SHARON EILON I am an Israeli based photographer and an electrical engineer by profession. Following a health crisis, I found myself seeking treatment in India and went through a life-changing journey. After returning home healthy I decided to realise my dream and learn photography. I am fascinated by the world of photography ever since, and I am especially keen about people photography of any kind, whether it is portraiture, street photography or culture photography – anything reflecting the humanity that we all share. For me, the act of photography has a meditative quality, feeling unified with the world around me at the present moment. LOCATION Tel Aviv ISRAEL CAMERA/S Sony Alpha 7iii WEBSITE https://1x.com/SharonEilon @SHARON.EILON.PHOTOGRAPHY @SHARON.EILON.1 FEATURES // Pursuing the Dream In the Spirit of History House of Mirrors

I am a journalist and I love photography, which allows me to freeze the world...to freeze the passing time. I love natural landscapes and cityscapes, the poetry of walkers and rainy days, the graphic design of shadows on sunny days. Adept in deep blacks and pure whites, I always try to preserve the shadows of my images. DAMIEN GORET I am a journalist and I love photography, which allows me to freeze the world...to freeze the passing time. I love natural landscapes and cityscapes, the poetry of walkers and rainy days, the graphic design of shadows on sunny days. Adept in deep blacks and pure whites, I always try to preserve the shadows of my images. LOCATION Brest FRANCE CAMERA/S Ricoh GRII, Nikon D7200, Olympus EM10 II @DAMGO29 FEATURES // Street Poetry

Kevin To is a street and documentary photographer who is currently based in Dahab, Egypt. Influenced by the photojournalists and humanists of the past, his aim is to create images that are reminiscent of the golden days of street and photojournalism but with modern subject matter. His images mainly focus on the relationship between certain groups of people and their immediate environments, how they interact with the physical world and the invisible social and political forces currently at play. KEVIN TO Kevin To is a street and documentary photographer who is currently based in Dahab, Egypt. Influenced by the photojournalists and humanists of the past, his aim is to create images that are reminiscent of the golden days of street and photojournalism but with modern subject matter. His images mainly focus on the relationship between certain groups of people and their immediate environments, how they interact with the physical world and the invisible social and political forces currently at play. LOCATION South Sinai EGYPT CAMERA/S Ricoh GR WEBSITE http://www.kevinqtophoto.com @KEVINQ.T FEATURES // Growing up Assala The Human Experience