ON THE BOARDWALK Carol Dronsfield introduces us to her vibrant characters that she photographs on her walks along the boardwalk of the iconic Coney Island. ON THE BOARDWALK December 17, 2021 INTERVIEW PHOTOGRAPHY Carol Dronsfield INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Carol Dronsfield is the master of capturing life in a single frame. Her photography journey began as an art director in New York City, but now her unique style of emotionally engaging shots have earned her a following of editorial clients who appreciate her ability to freeze a moment in time. Through Carol's lens we are able to take a glimpse into the humanity of her subjects. Whether she’s photographing on the boardwalk at Coney Island, or other bustling New York City streets, Carol's work always reveals the beauty in everyday life. Through her emotive and intimate portraits, Carol has captured the heart and soul of her subjects, eliciting a powerful connection and understanding. In this interview with The Pictorial List, Carol reflects on her journey from art director to full-time photographer, and shares her unique perspective on the importance of street photography as a way to connect people. She talks about her recent series of portraits taken on the boardwalk at Coney Island, revealing her own insights into what draws her to this particular setting and how she seeks to capture the essence of its colorful characters. Join us as we uncover the stories behind Carol Dronsfield’s mesmerizing street photography, and discover how her passion and talent have led to a unique and inspiring body of work. “I love that Coney has come back to life this summer after having been partially shut down due to Covid-19 last year. It brings me such joy to meet and photograph these vibrant characters as I roam the boardwalk. Coney truly is a paradise for portrait photography. It never disappoints.” IN CONVERSATION WITH CAROL DRONSFIELD THE PICTORIAL LIST: Carol please tell us about yourself. When did you first consider yourself a photographer. How did you get your start? CAROL DRONSFIELD: I was born in Hartford, Connecticut and currently live in Brooklyn, New York. I started my career as an Art Director/Creative Director, working first in Connecticut, and then spent the majority of my career in NYC. I worked at various advertising agencies such as Chiat/Day, Ammirati & Puris, and Ogilvy. I’ve had an interest in photography since I was in high school taking photos of my friends. In college I worked for the University of Connecticut newspaper for a semester, sort of an internship. I was given photo assignments and would go and shoot the assignment by myself, mostly photographing portraits on campus. In those days I used a Nikkormat film camera. In one photography class, I spent the entire semester working on a project photographing an Italian bakery and the family who owned it in the South End of Hartford. Pretty soon I was photographing all the family celebrations. I presented my project in a bakery box, with a box of Italian pastries for everyone to share. It was an amazing experience. While working in advertising, I always did photography on the side just for fun. I took a weekend photo workshop at The International Center For Photography in NYC, where I discovered the Holga camera: a mass-produced toy camera which cost about $25.00 at the time. It took 120 film-a 2 1/4” by 2 1/4” negative. I would take that camera with me whenever I traveled for business while at Ogilvy, and on vacations. When a colleague saw some baby photographs I had taken she asked me to photograph her upcoming Huggies campaign. From that point on, I was photographing ads at Ogilvy and building up a photography portfolio at the same time. After doing this for a couple of years I decided I wanted pursue commercial photography full time. I opened a studio in an old warehouse at Industry City on the Brooklyn waterfront. I still have my studio, although I have been transitioning to doing only street photography. I’ll shoot a portrait in my studio on occasion. The studio has become my creative nest. TPL: How much does street photography in particular play a role in your overall photography experience? What is it that you love about it? Where or how do you find your inspiration? CD: I took a weekend workshop on “How to Approach Strangers On The Street And Photograph Them” at The International Center Of Photography in NYC and fell in love with street photography. I’ve been living and working in NYC for over 30 years and found that I never really had seen the city. Shooting the streets of NYC is like my own personal theater. There are many acts, never quite the same. I walk around with my eyes wide open; my mind open to what is happening before my eyes. I meet strangers who sometimes don’t like having their photo taken, and others who don’t want me to stop. Engaging in conversation with these folks, I learn a bit about them, and I always offer to send them the photos I took of them. I can walk the same street everyday and always discover someone or something new. The city and its people are my inspiration. TPL: Your street portraits have this intimate but candid vibrancy about them, how do you get so close to your subjects? Do you have any particular habits that are part of how you begin your creative process? Have you ever had a negative experience out shooting street? If so, how do you deal with it? CD: I find the more I photograph people on the street, the more I learn about people and how to read them. There are some people who look relaxed and are dressed in a way that makes me think, “This person is looking to be photographed.” Most of these images are from Coney Island in Brooklyn. On the other hand, people on the boardwalk closer to Brighton Beach aren’t as eager to have their photo taken. I basically will wave and smile and just keep moving to find another subject. Once I’ve made contact with a person, which could be me saying, “I love your look and I’d love to make a portrait of you,” or just pointing at my camera and then pointing at them, I’ll get a yes or no response. If I get a yes, then I can get close to my subject. This has worked well for me. I like to “warm up” before I really get shooting. I’ll check my settings, shoot for a few minutes. This gets me to relax. People respond better if I’m not looking nervous and fumbling with my camera. TPL: As you work in the photography industry, do you ever get burnt out creatively? Explain how you keep the creative energy flowing. CD: I spend a lot of time on the streets and then in post-processing. Sometimes I feel a bit overwhelmed trying to stay on top of it all. So far, I don’t really feel burnt out. I’ve been purchasing more photo books these days and perusing them for inspiration. I’ll also look for a new neighborhood to explore and photograph. There are so many wonderful places to photograph in the New York’s five boroughs to keep the creative energy flowing! TPL: What have been some of your most memorable moments as a photographer? CD: My most memorable moment as a photographer was my first commercial shoot at Ogilvy. My colleagues had asked me to shoot their latest Huggies campaign. I was up on a ladder, shooting an overhead shot of a 12-month old baby. I turned around and saw the entire crew, creatives, clients, etc. behind me, I almost fell off the ladder. I couldn’t believe I was actually shooting this campaign. When I got down from the ladder and the baby wrangler was taking the baby off the set, the baby reached out to me for a hug. I guess we bonded beautifully. TPL: What are some tips or advice you would give yourself if you started photography all over again? The best advice I’ve ever gotten from another photographer was, “Go out and shoot. Keep shooting!” That’s the way you learn to see, work with light, get to know and trust your gear. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CD: Yes, of course! In high school I loved to look at Georgia O’Keeffe books; I was especially taken with her iris paintings. Her work influenced me to sit in my yard and draw the iris in my family’s garden. They were very detailed pen and ink drawings. I also loved David Hockney. A college art professor told me to look at his work; my drawings reminded him of Hockney’s. My favorite photographers are Josef Sudek, Francesca Woodman, Helen Levitt, Larry Fink, Ruth Orkin, Meryl Meisler, Gulnara Samoilova, Susan Meiselas, and Sal Taylor Kydd. TPL: If you could choose just one photographer to shoot alongside for a day...who would you choose? And why? CD: Meryl Meisler. I love everything about Meryl. I recently saw an interview with Meryl and Gulnara Samoilova, the founder of Women Street Photographers (@womenstreetphotographers). It was fascinating and funny, not to mention the wonderful photographs she spoke about. She was born in the Bronx, was a NYC art teacher for 31 years, and her photography documented the 70’s in NYC. Very interesting times to photograph. She studied with Lisette Model, another photographer I very much admire and would have loved to shoot with. TPL: Where are some of your most favourite spots to go photographing? CD: My favorite spots in NYC are Coney Island, Washington Square Park, Chinatown, the Lower East Side, and Times Square. I’ve been going to Martha’s Vineyard, a small island off the coast of Massachusetts almost every summer since my teens, and I love to photograph there. Totally different vibe from that of the city. I also love to photograph in France and Italy. 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? CD: When I first went out shooting in the streets, I was using my Nikon D800 with a 24-70mm zoom. A fabulous camera and lens, but I soon learned it was not the most discreet equipment to be using on the street. I felt the size of the camera drew attention to me, and it was too heavy to use when walking the streets for hours at a time. I moved to a Fuji X-T30, another fabulous camera, lightweight and perfect for the streets. I had multiple lenses, but mostly relied on the 18-55mm zoom. I could be discreet when photographing people, zooming in without my subject knowing I was taking their photo. It was great practice for photographing people on the street. Right now I now use a Leica Q2 with a 28mm lens. Perfect camera and lens for shooting portraits and street scenes. Because it's more of a wide-angle lens, it forces me to get close to my subject to make a more intimate portrait. I really love interacting with my subjects! TPL: What are you focusing on right now, in your work and photography? Where do you hope to see yourself in five years? CD: Right now I’m focusing on my street photography, transitioning away from doing commercial work. I still shoot an occasional portrait in my studio; however, I prefer photographing environmental portraits. My studio has become more of a creative nest, rather than a commercial studio space. In five years I hope to still be walking the streets of NYC, discovering life as it unfolds before my eyes, meeting all sorts of people. I hope to travel to France and Italy to re-shoot the streets with my “new” street photography eyes. I want to see what projects may emerge from my library of images, perhaps publish a zine and maybe even a book. TPL: When I am not out photographing, I (like to)… CD: To browse my cookbook collection and find something delicious to bake. I find baking relaxing. Cooking stressful. I garden, make flower arrangements (my Dad was a florist!). I also like to wander through museums. Being in NYC, I’m spoiled with so many amazing museums so close by. One of my favorites is a lesser-known one called The Morgan Library and Museum. It’s also great to people watch on the steps of The Metropolitan Museum of Art. Carol Dronsfield is an extremely talented photographer with a unique and emotionally engaging style. We take this opportunity to thank Carol for introducing us to her vibrant characters that she photographs on her walks along the boardwalk of the iconic Coney Island. To see more of Carol's inspiring photography, please visit the links below and be sure to follow her online for updates. VIEW CAROL'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY QUARANTINE CHRONICLE DOCUMENTING DUMAGUETE CITY DURING THE PANDEMIC August 21, 2020 PICTORIAL STORY Photography by Hersley Ven Casero Story by Danielle T. Ureta Spontak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link A photographer. A painter. An artist. All of these personas encompass Hersley Ven Casero. But in the midst of this year’s pandemic, a new identity sprang forth from the corners of this creative’s mind: a documentarist. In the Philippines, drastic measures were taken to keep its citizens as safe as possible during the Covid-19 pandemic. In Hersley’s hometown, Dumaguete City, people were restricted to their residences, with only one provider allowed out to retrieve supplies twice a week. Masks were enforced everywhere. Medical professionals bravely rose to meet the crisis head on, some in vibrant green suits and others in silver – all were and continue to be fiercely heroic. Garbage trucks were transformed into rice delivery trucks for the poor, zipping along the national highway equipped with huge “Do Not Delay” signs on the front. Flights, boats, even the iconic Filipino “pedicabs” (a motorcycle with an attached sidecar), were forbidden in fear of spreading COVID-19. Countless friends and families were either cut off from loved ones on adjacent islands or stuck in Dumaguete themselves. The juxtaposition of a tropical paradise and self-isolation became painfully sharp. And Hersley, plagued by anxiety and an acute sense of sensitivity, discovered a strange barrier against producing painted or drawn artwork. For this artist, it is crucial to be in the right state of mind to create, because authenticity is his destination and the journey there is one, he deeply appreciates. So, Hersley took to his photos. “Right now, I’m a documentarist. I’m a recorder of moments. I’m interested in documenting the effect of the pandemic on my city through photography. I volunteered,” Hersley says. Hersley was granted permission by the city’s task force, and his images flooded out like a dam unleashed when he had his camera in hand. Click. Click. Click. Each snapshot a drop added to the ocean of a quarantine chronicle. In every captured picture, depictions of how life had changed overnight in a city famous for its gentleness scratched at the soul. Hersley observed immediately how uneasy, bewildered, and frustrated people were when they briefly stepped out into the streets. Otherwise, it was quiet – too quiet. Too disturbing. Evinced in several pictures of this documentary, one can witness how everything has been sheathed in cold plastic. Smooth, safe, and yet, it has inflicted such disconnection amongst the people it has been trying to protect. No more handshakes. No more hugs. Despite mandatory social distancing, the artist managed to reach people through photos and reach out to people on the roads. Plastic may prevent human touch, but it also offers a different perspective to gaze through. It draws attention to what is vividly colourful, to what is overflowing with life despite the circumstances. And while there were no more smiles to be seen, hidden grins still reached the eyes of people from time to time, sometimes in the form of a mask with printed lips. “I’m an invisible ninja no one notices,” Hersley said with a chuckle, noting how he had switched to using his camera on his hip with a flap. He felt like he was on an empty movie set without any actors, describing one particular expedition, “I went downtown when it was dark. There were no pedicabs! I had to walk several kilometers to get home but I actually enjoyed it. No air pollution, no people, only dogs – I was able to enjoy the walk. And I was surprised I could make friends in an instant. I met locals, foreigners, and tourists. I met many people.” © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Harsley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Herlsey Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero © Hersley Ven Casero Hersley Ven Casero’s series of quarantine photos reveals humanity’s comradery, persistence, and ever-changing view of the world. view Hersley's portfolio Read an interview with Hersley >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

As a writer/director/editor of television, commercials and political media, still photography has always been a passion. I thought it might be time to share my work as well as invite those interested in displaying my photographs. I am currently engaged in creating mise-en-scenes —groups of photos that tell a story. DEAN GOLDBERG As a writer/director/editor of television, commercials and political media, still photography has always been a passion. I thought it might be time to share my work as well as invite those interested in displaying my photographs. I am currently engaged in creating mise-en-scenes —groups of photos that tell a story. LOCATION New York UNITED STATES CAMERA/S Nikon D70 (past), Fujifilm GFX 50S (present) WEBSITE https://deangoldberg.com/ @DEAN.GOLDBERG @DEAN.GOLDBERG.507 FEATURES // History In The Making

FINE ART STREET The stunning contrasts and graphic compositions have become Benny Van den Bulke's well known signature style in his photography. FINE ART STREET May 25, 2020 INTERVIEW PHOTOGRAPHY Benny Van Den Bulke INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For Benny Van Den Bulke, photography is a powerful form of art. With a strong preference for black and white, he’s able to capture stunning contrasts and graphic compositions that have become his signature style. He’s always imagining what his work will look like when it’s in black and white, and he focuses on geometry, lighting and the perfect subject to make the scene complete. From serene landscapes to vibrant cityscapes, Benny searches for the decisive moment when every element comes together in harmony. His unique vision has taken him around the world, and his eye for detail has earned him recognition and respect from the photographic community. Join us as we explore Benny's fascination with black and white photography and discover the beauty of his art. “Six years ago I bought a DSLR because I thought these machines could take better photos of my kids! So when that wasn't the case I started searching what I needed to know or improve on myself to get better images, and instantly I was drawn into photography as a creative outlet!” IN CONVERSATION WITH BENNY VAN DEN BULKE THE PICTORIAL LIST: Benny , how has as your style of photographing changed since you first started? BENNY VAN DEN BULKE: For sure, I started with some flowers and my kids, some basic portraiture…(like the most of us). Then started to photograph landscapes, long exposure, even a little bit of urbex…but street photography just always stood out as the favourite, the one genre that I came back to every time I tried something else. Black and white has been my main preference since a few years also, it's a bit encrypted into my style nowadays. And since two years I have been primarily been shooting street, with a strong taste for graphical images, where the shapes and light are the most important features. But I feel I'm still evolving, would like to do some more candid and reportage style, maybe some more minimalistic work... Where will everything lead to eventually?...I don't know and that's just fantastic! TPL: Where do you find your inspiration? BB: Just about anywhere, on social media, but also by buildings or shapes, even on well known locations, I always try to capture my view on things. A big inspiration can be the light, it sounds really corny I know but that's how it is! TPL: Who are your favourite artists/photographers? BB: Vivian Maier, Henri Cartier-Bresson, Fan Ho, Stephan van Fleteren...if you love street photography and black and white, these are the big names and I love every one of them! Alan Schaller, Vulture Labs, Thomas Leuthard (he sadly retired from photography)...these guys have inspired me the most in my current style of photography TPL: Where is your favourite place to photograph? BB: Gare de Guillemins (Guillemins Railway Station) at Liege, Belgium. That is where I discovered what kind of street photography I wanted to start doing and this place just keeps inspiring me, the architecture is fantastic! I try to go once every year to this place, totally love it! TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? BB: That's a hard one... As almost every street photographer says that equipment is the least important thing (and I can relate to that). For me, even equipment can be somehow inspirational...new techniques brings new opportunities right? Tilting screens are great, and also being able to shoot completely silent is a big help, etc. etc. So, I think gear matters to me as it helps me, but it is not defining for my photography, it is there to help me get what I want more easily. People starting out in this type of photography can actually start with their smartphone or basic DSLR kit with the kit lens or a mirrorless camera, when you progress you will find where your needs will be to purchase a somewhat more specialised system, so start cheap and enjoy the learning process! Photography has totally opened up a whole new world for me. TPL: What characteristics do you think you need to become a street photographer? What’s your tips? BB: Go out and shoot, no good pictures come out of just thinking about it! When I have a period that I'm not able to go out and shoot a lot, I immediately notice I'm getting rusty at it. So practice does make the art! In the beginning the most important is learning shooting techniques, compositions, see what the light does to your photographs…you know...the basics. And then start to edit your images to your own taste, and thus creating your own style. TPL: Have you ever been involved in the artistic world before photography? BB: Nope...photography has totally opened up a whole new world for me. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? BB: With the current Corona crisis, I think a lot of my 2020 plans will be hard to do. Would love to travel, shoot and explore some more cities but, we will have to see of course. I am also working on and planning an exhibition, so I am preparing that to the fullest, but haven't picked out a date yet. I'm thinking it will be in the beginning of 2021. TPL: "If I wasn't photographing what would I be doing?... BB: Haha...LOL...getting bored as hell! I can't even imagine what life without photography would be like. It opened my mind to see the world in another way...so I'm here to stay!" Benny's photography is truly extraordinary. His signature style of combining contrasting colors and graphic compositions makes for some stunning photos that capture the viewer's attention. Benny is passionate about his art, and it shows in the amazing images he produces. By taking the time to carefully compose each shot, Benny is able to create a unique and beautiful work of art. If you want to see more of Benny's stunning photography, be sure to visit his website or follow him on Instagram. Let Benny's work of art inspire you and take your own photography to the next level. VIEW BENNY'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I started my photography journey only a few of years ago. Until then I basically took pictures or rather snaps with my iPhone and in April 2017, I felt ready to purchase a 'real' camera, the Lumix GX80. As from then I started taking photography more serious, started reading/studying about photography and took a couple of online courses to learn the basics. With an engineering background learning the basics of the technology was not so complicated, but at the same time I also discovered that photography is not about technology. I found at some point in time a sentence that summarizes it all: 'It is not the camera that takes the picture, it is the person behind the camera that makes the picture.' Since then I am basically experimenting with colors, light, shadow, composition, and moods. Although 'finding your style' is a never-ending journey, I have a tendency towards street photography. Street photography, but of the slow type with pictures where there is a human aspect present. Very often the human element is only present in the background to add to the mood or even only as a silhouette. Although I like to travel, I really enjoy taken pictures in my own hometown Antwerp. The biggest advantage here is that you can go at the same place over and over again as different light makes a scene completely different. YVES VAN TENTE I started my photography journey only a few of years ago. Until then I basically took pictures or rather snaps with my iPhone and in April 2017, I felt ready to purchase a 'real' camera, the Lumix GX80. As from then I started taking photography more serious, started reading/studying about photography and took a couple of online courses to learn the basics. With an engineering background learning the basics of the technology was not so complicated, but at the same time I also discovered that photography is not about technology. I found at some point in time a sentence that summarizes it all: 'It is not the camera that takes the picture, it is the person behind the camera that makes the picture.' Since then I am basically experimenting with colors, light, shadow, composition, and moods. Although 'finding your style' is a never-ending journey, I have a tendency towards street photography. Street photography, but of the slow type with pictures where there is a human aspect present. Very often the human element is only present in the background to add to the mood or even only as a silhouette. Although I like to travel, I really enjoy taken pictures in my own hometown Antwerp. The biggest advantage here is that you can go at the same place over and over again as different light makes a scene completely different. LOCATION Antwerp BELGIUM CAMERA/S Lumix GX80, G9 FEATURES // The Beauty With My Hometown

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

PICTORIAL STORY HOUSE OF MIRRORS Two strangers become collaborators, revealing a culture defined by openness, warmth, and connection. This series captures more than scenes — it celebrates the shared humanity that emerges when curiosity meets kindness. May 6, 2022 PICTORIAL STORY photography SHARON EILON model OHAD HURI story GAL EILON SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In her project House of Mirrors , photographer Sharon Eilon aims to investigate the human experience in her home country of Israel. A mindful observation through the main character's eyes reflects the Israeli society as it is perceived from external and internal points of view simultaneously. Through a lens of playful self-parody, Sharon has tried to showcase different facets of this society, shining a spotlight on its charming characteristics – the warmth, openness, eccentricity, and the tribal spirit it encompasses. “ My intention was to hold up a mirror to my home, the country I live in. I wanted to take a look at my familiar environment from a different point of view, and thus, this project was born.” In this project, Sharon chose to use the visual language of street photography, which is the genre of photography she loves most and in which she is well-versed. Using this visual language provided Sharon with comfort and familiarity, a sort of safety net as she embarked on her journey catching this outside perspective, “I came in with a familiar skillset to catch an unfamiliar perspective on my own home,” she explains. This series includes both candid photographs and ones that were taken with the cooperation of strangers Sharon and her collaborative partner met on the streets just a few minutes earlier. “Of course, I can't talk about this project without mentioning the wonderful Ohad Huri, the model I collaborated with to bring this vision to life.” Sharon had a great connection with Ohad, both sharing a similar view on this project, which made it easy to work with each other. “What surprised us both was how easy it was to work in public,” she discusses. “We both expected a hesitance or even a hostile approach from other people in the frame, but most times that wasn’t the case. Wondrously enough, curious bystanders had asked us what we were doing, asked to get their pictures taken with Ohad, and joined in on the project, so we got a great deal of cooperation.” With expectation, there were some raised eyebrows, but most people were simply curious and happy to help, and a few times people even got into Sharon's frame out of their own volition. This general readiness to help, to join in, represents exactly what Sharon was hoping to convey in the photos – the spirit of the Israeli people. “People aren't shy to offer a helping hand or ask what we're doing, and even though we're strangers, somehow, it's always enveloped in a sense of warmness and familiarity. We have no qualms about reaching out, about connecting, and for me, this is a special trait of our society, one that should be celebrated.” To examine this, Sharon placed Ohad in a variety of typical locations that represent life in Israel for her, this warm country home to warm people. She took photos at the sunny beach, the marketplace, at the park, running into the familiar sight of people making use of the good weather and barbequing. These locations were an entryway to meeting the Israeli people in them. Sharon remembers, “We ran into a father who coaxed his young daughter to take a picture with Ohad, into a folk dancing class; we met a man who came to the same beach every day for twenty years and fed the egrets, so now they recognize him and come to sit on his arm. We came across a couple in love at the beach, a family picnicking in the park that invited us to join them, young men working out, a religious man helping men lay phylacteries. We encountered the loud joyful sellers in the market, as well as one butcher who, even though doesn't usually agree to have his photo taken, agreed to participate and even added his own humoristic take on the photo.” © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon All of these people, places, and experiences reflect, for Sharon, integral parts of Israel and the society that inhabits it and gives it life. And in the middle of that, Sharon inserts the character of an outsider, helping the viewer along in seeing these familiar sights through a different lens, and providing silent commentary on the special quirks of the Israel society. A selection of images from this project were presented in a gallery in Israel, and to Sharon's surprise, a few of her colleagues and the viewers had asked her if she had used photoshop to insert Ohad in the photos. Of course, Sharon had not, which is what she told them, explaining, “I don't even know how to use photoshop. It made me think for a while until one of my colleagues explained it in a way I liked; if people think Ohad isn't really a part of these photos, to the point where the jarring contrast made them think the photos were manipulated, that means I had done things right. And this achieved the perspective I was aiming for.” view Sharon's portfolio Read an interview with Sharon >>> Read "IN THE SPIRIT OF HISTORY" by Sharon >>> Website >>> Instagram >>> Sources in this story - Model - Ohad Huri 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 >>> 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. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

NEW REALITIES Faced with a unique reality, Tony unifies several of his images, and transforms this reality and presents a new image in a different way. NEW REALITIES February 19, 2021 INTERVIEW PHOTOGRAPHY Tony Remartinez INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Tony Remartinez is a visionary artist who is revolutionizing the world of abstract photography. His work is renowned for its ability to capture the duality of things, images, and thoughts, creating an entirely new reality. Through the use of unique imagery, Tony's work pushes the boundaries of photography, allowing us to view the world from a totally different perspective. By combining several of his photographs together, Tony creates something that transcends the tangible elements of photography, instead presenting us with something more emotional and reflective. With each photograph, Tony invites us to look closer, to challenge our understanding of reality and to explore a totally new realm of possibility. “As the people pass me, I always wonder, where do they go? What do you think? In something that catches my attention and I see the image superimposed with another that has nothing to do with it (at first). And from there, I begin to deconstruct, to search, what? I do not know.” IN CONVERSATION WITH TONY REMARTINEZ THE PICTORIAL LIST: Tony, please tell us about yourself. How did you become interested in photography? TONY REMARTINEZ: I was born in a town in Cordoba, Spain, until I was ten years old I lived in Sidi Ifni, then in Zaragoza and currently I have my residence in Sitges. My first memories of photography came from the shoe box where we kept the family photos, which my father made with Kodak Retinette IA (which I still have). I have always liked photography, and I have done photography; but had never learned them, until three years ago when I started posting on Instagram. TPL: Where do you find your inspiration? TR: In the people, in the images that pass in front of you when you walk... TPL: What do you enjoy about abstract photography? What do you want to express through your photography? And what are some of the elements that you always try to include in your photographs? TR: Abstract photography allows me to lose myself in other worlds, in other thoughts; the deconstruction of reality takes hold of me when I start to play with images. From the outset I have to say that I don't use powerful editors such as Photoshop or Lightroom. Let's say I work in a 'traditional way' using the iPad with double or triple exposures, with movements of images, recovering elements, which is usually a character in the image. TPL: Do you have a favorite place to photograph? How has the pandemic affected you and your photography? TR: The truth is not, because it is close to the town where I live Sitges, its beaches, its people; then Barcelona in general, wherever I am, I try to shoot. The pandemic has affected me, especially losing some exposure; and evidently not being able to go out and take the camera; but there are many images to take, nothing happens. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? TR: I like to look, photograph, look at images in Instagram, in Art Limited, in digital magazines and with that I am discovering photographers that I like the most and that capture my attention such as Pep Ventosa, Chema Madoz, Stephen Allsopp or Jack Savage. Abstract photography allows me to lose myself in other worlds, in other thoughts; the deconstruction of reality takes hold of me when I start to play with images. TPL: When you go out to photograph, do you have a concept in mind of what you want to photograph, or do you just let the images "come to you", or is it both? TR: I have nothing in mind, I go out for a walk, I love to walk and as I always carry my camera, I shoot; There are days when I shoot compulsively, there are days when I don't shoot anything, but I look and observe, and I keep the image. The images I capture, then I go to the computer, and I look at them when I look at them, I'm not in a hurry. There are images that I have been able to look at over the months, or I am looking for an image for something specific that I know will capture in its day. TPL: Have you ever been involved in the creative world before photography? TR: No, and I don't have photographic studies either. What I do is visit exhibitions of both photography and painting, I am passionate about that. TPL: Does the equipment you use help you achieve your vision in your photography? What camera do you use? Describe what you like about your camera and what you don't like (if you do). Do you have a preferred lens / focal length? TR: Currently I have an Olympus OMD, I have always carried compact, small cameras that I can carry in my bag or backpack; I usually carry a prime lens the Olympus 25mm; sometimes I also shoot with the iPad. TPL: What are some of your goals as an artist? Where do you see yourself or do you hope to see yourself in five years? TR: Honestly, I do not have them, I do not think about it and less to a term of five years. TPL: Is there a special project you are currently working on that you would like everyone to know about? TR: I have in mind, I would like, to make a "fusion" of photography with painting based on Sitges images. Tony Remartinez's work is a testament to his vision and creativity, showing us that there is an entire world of possibility to explore, and that abstract photography can be used to take us to places we have never been before. By challenging us to look closer and to think outside of our comfort zone, Tony's photographs invite us to experience reality in a totally new way. We invite you to join Tony on his journey and explore the potential of abstract photography for yourself. VIEW TONY'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. EPHEMERAL RHYTHMS A Long Term Boardwalk Visual Diary June 28, 2024 INTERVIEW PHOTOGRAPHY Edwin Carungay INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Embark on a journey into the creative world of Edwin Carungay, a senior graphic designer and multimedia producer based in the vibrant San Francisco Bay Area. Edwin has always had a profound connection with photography, allowing it to complement and enrich his creative pursuits. From 2017 onward, Edwin found himself being drawn deeper into the world of photography, inspired by the masterful works of Alex Webb and Nikos Economopoulos. Their ability to capture the essence of life through intricate plays of light, shadow, and candid moments resonated deeply with him, shaping the trajectory of his own photographic journey. Edwin's lens is constantly drawn to the raw and unscripted moments that unfold on the streets of his hometown and beyond. His photography seeks to encapsulate the genuine, unfiltered essence of human experience, celebrating the individuality inherent in everyday life's vibrant moments. His latest project, “Boardwalk Diary,” is a visual love letter to the iconic Santa Cruz Boardwalk and its surrounding coastline. Far removed from the polished glamour of Hollywood, this kaleidoscopic hub of fun has been a cherished American destination since its establishment in 1907. Edwin captures the colorful mosaic of humanity that converges on this beloved spot along the California coast. Each click of his camera’s shutter is imbued with a profound love for documenting the diverse tapestry of cultures and experiences that make the Santa Cruz Boardwalk a perpetual carnival by the sea. Join us as we explore the inspiration, techniques, and stories behind Edwin Carungay’s captivating imagery, and gain insight into the artistic vision that defines his work. “The Boardwalk Diary has evolved into a deeper, more poignant look at both tourists and locals, showing their highs and lows inside this makeshift environment. I like the challenge of working in this environment, keeping the focus on the people and not the amusement park.” IN CONVERSATION WITH EDWIN CARUNGAY THE PICTORIAL LIST: Welcome Edwin to The List! How does your background in graphic design and multimedia production influence your approach to photography? EDWIN: I feel that my graphic design and multimedia background helps to direct my focus on what I am capturing inside the frame. In the process, I often find myself gravitating towards the principles of visual hierarchy. I think it’s beneficial for me to begin thinking about each frame with this structure – and most often the best outcomes are because of outside forces. It’s those happy accidents that enter the rigidity of the frame that makes me smile. TPL: How do you balance your full-time job with your passion for photography? EDWIN: I’m very fortunate to have a career in a creative environment. I’m frequently working with and editing photos (that aren’t mine) at my full-time job. I’m around images that are in contrast to my own personal preference. I think being surrounded by images that are in contrast to my own aesthetics helps me to push my own work in a different direction – away from the mainstream. For the past couple of years, I’ve been working mostly from my home studio – and frequently on my breaks take a walk with my camera. During the spring and summer, I try to shoot every day before and after work. TPL: How has your photography evolved since you started being drawn deeper into the world of street photography? EDWIN: I have calmed down quite a lot in comparison to when I first started shooting on the streets. Someone once said I was “like a kid in a candy store” – when out photographing. I’ve become more discerning – and for me, this more calculated approach allows me to study the environment and the people within it, allowing more of the unique shots to come into my frame. TPL: What motivated you to start your "Boardwalk Diary" project? EDWIN: Initially, it was where I could go to interact with locals and tourists in a more densely populated and colorful environment. The more time I spent there, the more revealing it became of its cultural diversity and scope of emotions. At first, I was just thrilled to capture the amusement of it all. The Boardwalk Diary has evolved into a deeper, more poignant look at both tourists and locals, showing their highs and lows inside this makeshift environment. I like the challenge of working in this environment, keeping the focus on the people and not the amusement park. TPL: Can you share a particularly challenging or rewarding experience you've had while photographing for your project? EDWIN: The boardwalk isn’t a public space. So, you have to navigate carefully to balance being that obtrusive stranger – with missing once-in-a-lifetime opportunities. This is often the case in a public setting, but at the boardwalk, you are often being watched by security officers who have the best interest of its patrons in mind. A good friend and fellow photographer has been escorted out of the boardwalk several times. I tend to shoot first and talk my way out of any bad feelings afterwards. Ninety percent of the time, those after-the-shot engagements turn friendly. Those friendly conversations with strangers are sometimes interesting and can end with me taking their photo using their mobile phone. And sometimes, you encounter a family, and they want to chat about photography. It’s encouraging and reaffirming to talk to strangers who understand what and how you’re photographing. TPL: Can you discuss any recurring themes or motifs that appear in your photography? EDWIN: I mostly shoot in the early parts of sunrise and in the late afternoon. I’m looking for the softer sunlight where longer shadows persist. I like to include interesting shadows and silhouettes when possible. I also aim towards quirky, unsolicited poses, gestures and expressions. Photography is work in progress and patience through an enjoyable, physical pursuit. TPL: How do you find a balance between capturing spontaneous moments and planning your shots? How do you connect with your subjects when taking candid photographs? How do you navigate ethical considerations when photographing people in public spaces? EDWIN: In both familiar and new environments, I never have an itinerary or solid plan. I’m just always looking for interesting situations and interesting people. I do have a handful of favorite “fishing spots,” and those reveal themselves and become too obvious to the people present, and in the photos. I’m mostly just walking and studying, with camera at-the-ready. I try not to connect with the people I’m photographing. To capture those genuine, spontaneous emotions, I try to be unobtrusive and most of the time unseen. I navigate and treat strangers the same way I’d like to be treated. When I’m confronted with having taken someone’s photo, they usually just want to know “why?” and sometimes even ask if I can share a photo. I don’t get defensive. I’ve witnessed other street photographers get defensive and it usually escalates on both sides. I’d like to keep believing that I have a third eye for approaching strangers who are OK with having their photos taken – by a stranger. TPL: What role does post-processing play in your photography, and how do you ensure your editing enhances rather than alters the authenticity of the moment? Can you share some behind-the-scenes insights into your photography workflow? EDWIN: Early on, I never cropped or made any edits. I was proud of being a “purist.” But now, I’m fine with cropping in a bit. Sometimes there are distractions on the fringe. I shoot manually, and some photos require exposure adjustments – as moments happen quickly and often. When I was learning photography in the darkroom, we learned to dodge, burn and crop on an enlarger. These similar tools are available digitally and I sometimes use them without diminishing the moment. TPL: What lessons have you learned from your photography that you've applied to other areas of your life or work? EDWIN: Photography is work in progress and patience through an enjoyable, physical pursuit. I’m learning by seeing in real-time how my photography is evolving – through the process of patience and persistence. On most days, I don’t come home with anything noteworthy to show, but the experience of being out and about, thinking and studying the scenes are still valuable. There is value in the process. In my work, creative criticisms are expected, and you have to be receptive. You learn to know what appeals to others and what will ultimately be successful in their eyes. Entering open calls is much the same. You put your best out there for the critics, juries and judges to decide. And in most cases, you don’t get the first show, but there’s still value in the process. TPL: Apart from Alex Webb and Nikos Economopoulos who you have mentioned previously, do you have any other favorite artists that you would like to share with us, and the reason for their significance? EDWIN: My wife, Lesha Maria Rodriguez, who is also a photographer and artist, is an early influence on my photography and I give her credit for being the person to introduce me to street photography by showing me Alex’s book, The Suffering of Light. That frontispiece photo from San Ysidro, California of immigrants, officers and a helicopter in the field is etched in my mind – and lit the fire for me. Graciela Iturbide’s body of work is another inspiration. The beauty, attachments and prolific consistency throughout her documentary work is also often on my mind. She produces long term projects and books containing remarkable standalone photos that also fit exactingly to narrate a larger story. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on your Wishlist? EDWIN: The first camera I ever held and shot was my mom's Polaroid OneStep. That also felt like my first experience with what I perceived as adult technology. Of course, I had a bowl of water ready as well. The camera I’m using is a Leica M11 with a 35 mm. A friend has actually been encouraging me to get a Polaroid. So, that’s on my Wishlist. TPL: When you're not working or creating your visual stories, what would we find Edwin doing for leisure? EDWIN: I’m out walking our dog at least twice a day (with camera around my neck). So, even with this loving chore, I’m looking for interesting situations to capture. On most days, I fill my other times cooking and then relaxing on the couch, winding down the day streaming episodes or watching a movie. Going out to see my favorite bands play is also a great, but less frequent treat. As the shutter falls on Edwin Carungay's photographic diary of the Santa Cruz Boardwalk, a mosaic of human experience has unfolded before us. Through his lens, the vibrant energy of this iconic American destination is captured, revealing a medley of moments both fleeting and eternal. In each image, Edwin skillfully encapsulates the essence of life along the California coast, celebrating the convergence of cultures and experiences that make the Santa Cruz Boardwalk a perpetual carnival by the sea. His photographs serve as windows into diverse narratives, reminding us of the beauty found in the unscripted moments of everyday life. As we bid farewell to this visual journey, we are left with a profound appreciation for the power of photography to immortalize the essence of our world. Eagerly, we anticipate following Edwin on his continued creative journey, knowing that he will continue to inspire us with his unique perspective and storytelling through photography. VIEW EDWIN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I mainly do street photography as my way of self expression. But generally documenting places, events and portraying people is my area of interest in photography. In 2011-2013, I attended photographic studies of Polish Association of Artist/Photographers in Warsaw. In 2016, I organised my first solo exhibition in Warsaw titled "Simplicity". What interests me is the simple composition and the subject - city and the people. In my exhibition "Simplicity" I wondered on urban life and my street photography. On the one hand you can say that urban life is spontaneous, random and chaotic. Similarly the photographer, when doing street photography, relies on intuition and on catching changeable, decisive moments. On the other hand human, when creating the urban space, is drawn by the need of order, convenience, simplicity. As well the street photographer in the frames arranges the space, catching elements, which are making a coherent composition. I wonder on this contrast – between something accidental, free, intuitive, spontaneous and the need of simplicity, order, peace and convenience. Furthermore I also reflect on my more personal thoughts about life in the city. One can say the big city determines feelings of loneliness and alienation from other people and what is around us. At the same time the urban life does not make us feel alone, constantly making us connect with others. I think I am searching, when doing photography, for more or less quite scenes, being aware of loneliness, and at the same time doing photographs to feel connected. GRZEGORZ ŻUKOWSKI I mainly do street photography as my way of self expression. But generally documenting places, events and portraying people is my area of interest in photography. In 2011-2013, I attended photographic studies of Polish Association of Artist/Photographers in Warsaw. In 2016, I organised my first solo exhibition in Warsaw titled "Simplicity". What interests me is the simple composition and the subject - city and the people. In my exhibition "Simplicity" I wondered on urban life and my street photography. On the one hand you can say that urban life is spontaneous, random and chaotic. Similarly the photographer, when doing street photography, relies on intuition and on catching changeable, decisive moments. On the other hand human, when creating the urban space, is drawn by the need of order, convenience, simplicity. As well the street photographer in the frames arranges the space, catching elements, which are making a coherent composition. I wonder on this contrast – between something accidental, free, intuitive, spontaneous and the need of simplicity, order, peace and convenience. Furthermore I also reflect on my more personal thoughts about life in the city. One can say the big city determines feelings of loneliness and alienation from other people and what is around us. At the same time the urban life does not make us feel alone, constantly making us connect with others. I think I am searching, when doing photography, for more or less quite scenes, being aware of loneliness, and at the same time doing photographs to feel connected. LOCATION Warsaw POLAND CAMERA/S Fujifilm x-t20, Fujifilm x20 WEBSITE https://gzukowski.pl/ @GRZ_ZUK FEATURES // Life In My City

These pictures have all been shot during a camping trip through Croatia, where I explored the fascinating contradictions of a country split between the evident desire to transform its international image to EU standards (in hope that this strategy will higher their chances to become a member of the Union) and the chaotic energy of centuries of Balkan traditions that so naturally emerges from these people. In my work I generally look to cause a reaction in my subjects instead of just being a witness of the scene. I like to go very close and impose my presence on them, see what evolves, all while trying to maintain a humoristic look. MATTIA BULLO These pictures have all been shot during a camping trip through Croatia, where I explored the fascinating contradictions of a country split between the evident desire to transform its international image to EU standards (in hope that this strategy will higher their chances to become a member of the Union) and the chaotic energy of centuries of Balkan traditions that so naturally emerges from these people. In my work I generally look to cause a reaction in my subjects instead of just being a witness of the scene. I like to go very close and impose my presence on them, see what evolves, all while trying to maintain a humoristic look. LOCATION ITALY CAMERA/S Canon EOS M10 WEBSITE http://www.mattiabullofilm.com @MATTIABULLOFILM FEATURES // Where Life Leads Simulation Theory

PICTORIAL STORY THIS IS ESSEX June 25, 2021 PICTORIAL STORY Photography and story by Danny Jackson Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Danny Jackson has captured the sometimes weird and often wonderful everyday lives of residents in Essex in pictures. As a passionate people watcher, in 2019 Danny started working on a portrait series called Eccentric Essex . The Pandemic has given him the opportunity to go through his work, which in turn has led to the development of the series This Is Essex , and Eccentricity . Both of these series focus on eccentric and interesting people. Why Eccentrics ? Danny has asked himself that question quite a lot, and his main reasoning is that eccentric people seem to live life somewhat differently from the norm, they rebel or let their interests and passions determine how they live their lives. When I was a child growing up in Basildon, a new town in South Essex, in the 80s and 90s, I became aware of a growing stigma attached to my county. The expression Essex Girl had recently found purchase in modern lingo; a derogatory term that was used to describe women who were considered promiscuous or lacking in intellect. It was a stereotype that was compounded by the television programme Birds of a Feather with its own archetypal Sharon and Tracy; vacuous characters who bumbled through each episode with dropped Hs and glottal stops galore. The Essex boys fared little better. They found their representative in Harry Enfield’s creation Loadsa Money . Enfield’s depiction of a brash, up and coming man with oodles of money and no accompanying substance or class was a clear comment on the generation of young Essex men who had found lucrative jobs in the nearby city of London. And so, it went on… Big Brother , Pop Stars , X Factor and more recently TOWIE . Any contestant that hailed from the county of Essex inevitably conformed to the classic stereotypes of the pretty but vapid Essex Girl and the materialistic and loutish Essex Boy . Modern culture has been saturated with the media’s propagation of this unkind and unfair stereotype, but if we look a little deeper then maybe we will find that there’s more to the Essex species than these narrow and restrictive generalisations acknowledge. Essex, as we know it now, has evolved and expanded over the duration of the last hundred years, a relatively short time. Before then it was mostly small farming communities and Victorian seaside towns. But after the Second World War and the devastation of London’s East End, the Labour government created a series of “new towns” across the country and Essex was the birthplace of two such towns: Harlow in North Essex and Basildon in the south. These new towns offered hope and fresh starts to a bruised and beleaguered generation of Eastenders. Massive council estates sprung up, the largest in Europe being one in Dagenham, and many Londoners flocked to Essex to join friends and relatives who had already settled here. Both sets of my grandparents originated from East London, as are my wife’s, and this is the same for the large majority of my friends too. So, to understand the nature of the people of Essex, we must first start with their forebears, the Eastenders. Just as Essex has a stereotype, so too have the people of East London. Ask any one from around the world what a cockney or an Eastender is like and a list of attributes common to this Londoner will be reeled off: speakers of Cockney rhyming slang; consumers of jellied eels and pie and mash; images of The Artful Dodger , Dickens’s famous pickpocket from Oliver Twist , or the Kray twins (gangsters of 50s and 60s London) spring to mind. But just as the Essex stereotype is narrow and reductive, so too is this one. It’s important to remember what happened to the East End of London during the Second World War; German planes bombed the area relentlessly during The Blitz of 1940. Thousands of homes were bombed out and lives lost. Parents had to evacuate their children to the countryside to live with unknown families. My nan was one of those children, who with her two sisters, was sent to Norfolk and spent the war living with a farmer and his wife. The phrase “ Keep Calm and Carry On ” can be said to embody the attitude of the nation as a whole, but it seems particularly pertinent to the East End. I believe that going through such hardship and embracing the ‘war-time spirit’ solidified in them those attributes of resilience, determination and kind heartedness and highlighted the importance of family and fun, even in the face of adversity. When broken down, what really is the idea of a ‘ wartime spirit ’? It’s a commitment to carry on no matter what; a conscious stance of thinking positively when times are hard; to move on and to move forward. So, who are the people of Essex now? Essex has a population of about 1.9 million. It borders Suffolk, Cambridgeshire, Hertfordshire, London and Kent. During the census a few years back Castle point in South Essex had the highest percentage in England of people identifying their ethnicity as ‘White British.’ Essex also has a very high percentage of over 65s, much higher than the national average. Much of the densely populated towns are on the coast where many older people go to retire; seaside towns like Southend on Sea and Clacton on Sea being a mix of young families and older residents. Leigh on Sea was recently voted the best place to live in England, with large 1930s family homes close to a classic British high Street and an old fishing village. Many Essex residents are tradesman or office workers who commute up to the city daily via the motorways or railway. And as for that perception of the people of Essex as being less academic; the University of Essex ranked 25th out of 130 in the most recent University League Table. Regardless of where you are in Essex, there are some common strains that seem cemented in the Essex persona like the letters in a stick of rock: the people of Essex have a friendly, warm nature - if workmen enter their home they will immediately be offered cups of tea, and at the end of the job a tip or drink will be given as a thank you; “Get yourself a beer,” they might say. Essex people love a bargain, with a glut of Pound Shops punctuating most high streets and Sunday mornings frequently being spent rifling through the goods at local car boot sales. The people of Essex are fun loving, neighbourly, sometimes eccentric, cheeky, money driven and confident. They can also drink far too much, burn in the sun far too easily, love a bit of gossip, are occasionally rowdy and sometimes vain. They love their fish and chips and English breakfasts, shop at Lakeside Shopping Centre and in the evenings many flock to Southend amusements or Peter Pans , a theme park by the pier that’s been called Adventure Island for over 20 years, but everyone still calls Peter Pan’s Playground . The V-festival is a yearly event where some of the biggest names in the music business come to play and for thousands across Essex this a must-see event of the summer. Another place that every Essex resident is familiar with is Southend Pier, the longest pleasure pier in the world at 1.34 miles long. Built in 1830, this pier is very much part of Essex’s heritage, in fact to quote Sir John Betjeman (the English Poet and broadcaster), “The pier is Southend, Southend is the Pier.’ © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson So, in conclusion, when describing this collection of people…my people… it is clear that the people of Essex have a quirkiness to them, an eccentricity, a cheekiness. They have their own language - a mix of slang and colloquialisms - and they have certain habits that counts them apart from other people, much of this coming from their cockney ancestors. Their warmth and friendliness, family orientated attitude and gritty determinism have resulted in a can-do attitude and work hardy strength that comes from generations of tradesmen, dockworkers and factory workers. As a people they are strong, loyal and neighbourly. This is all a far cry from the crass Essex Lad or the promiscuous and unintelligent Essex Girls , in fact quite the opposite. Maybe in time the idea of who the people of Essex actually are will change and develop and we will finally be allowed to transgress these reductive and disparaging stereotypes, however whatever happens I’m happy to be one of them and I’m proud to be able to photograph them and document the county I love. view Danny's portfolio Read an interview with Danny >>> 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 >>> 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. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.