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I began studying photography in 2015 after years as a fine art painter. Schooled in the essential elements of painting - color, light and composition - it was not a difficult transition. Whether inside the studio or out, the artistic tool box was the same. As a native New Yorker, the genre of street photography was a natural fit. I had always been captivated by the hum and buzz of the street; the energy of unremitting commerce; the mash-up of peoples and cultures. With a camera in place of a paint brush, I could capture the endlessly fascinating drama unfolding in the public sphere. ALEXANDRA AVLONITIS I began studying photography in 2015 after years as a fine art painter. Schooled in the essential elements of painting - color, light and composition - it was not a difficult transition. Whether inside the studio or out, the artistic tool box was the same. As a native New Yorker, the genre of street photography was a natural fit. I had always been captivated by the hum and buzz of the street; the energy of unremitting commerce; the mash-up of peoples and cultures. With a camera in place of a paint brush, I could capture the endlessly fascinating drama unfolding in the public sphere. LOCATION Manhattan UNITED STATES CAMERA/S Fuji XT2 & XT3 WEBSITE http://www.alexandraavlonitis.com @ALEXANDRAAVLONITIS FEATURES // Street Theatre

I am an autodidact living in The Netherlands. A few years ago I started photography using the Fujifilm X system seeking to capture urban scenes to improve my basic skills and learn the art of photography. Out of curiosity and a bit of nostalgia for my father in his young years, I did have an analog Canon and used a projector to see the film results. My Tokyo trip ignited my passion. Then I switched to the Fujifilm X system. I am still learning. JOSÉ LUIS BLACH LEYENDA I am an autodidact living in The Netherlands. A few years ago I started photography using the Fujifilm X system seeking to capture urban scenes to improve my basic skills and learn the art of photography. Out of curiosity and a bit of nostalgia for my father in his young years, I did have an analog Canon and used a projector to see the film results. My Tokyo trip ignited my passion. Then I switched to the Fujifilm X system. I am still learning. LOCATION The Hague NETHERLANDS CAMERA/S Fujifilm X - pro 1 @BLACH_LEYENDA.J.L FEATURES // Netherlands Nostalgia

I am drawn to light, colour and sights that move me. The feelings that I try to communicate in my captures are melancholy and a certain kind of moodiness, but also feelings of awe, facing the wonders we come across in life. My subjects vary, it can be landscapes, cityscapes, still-life, and people. ANNA MARCHIOLI I am drawn to light, colour and sights that move me. The feelings that I try to communicate in my captures are melancholy and a certain kind of moodiness, but also feelings of awe, facing the wonders we come across in life. My subjects vary, it can be landscapes, cityscapes, still-life, and people. LOCATION Clamart FRANCE CAMERA/S Lumix F2200 @AK_MOODYSHOTS FEATURES // The Wonders of Everyday Life

ECLIPSE From an aesthetic point of view, Fanny Genoux seeks the abstraction and geometry that shadow and colour can create in the city. ECLIPSE October 5, 2020 INTERVIEW PHOTOGRAPHY Fanny Genoux INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Fanny Genoux is a teacher but photography is now an integral part of her life. She is interested in photography as a whole and has a varied approach, even though as Fanny tells us, she is most fond of street photography. Shadows, lines and abstract forms is what she seeks in her very constructed graphic compositions. This is the photography language that speaks to her. Using the environment as a setting to compose her stories integrating those small details that are synonymous to her style. The human presence is not necessarily direct - it can be a silhouette, a shadow, a material - lost, anonymous in the geometry drawn by the city. We all know the power of light and shadow, the way they can shape a place, changing it right before our eyes. This is what Fanny has sought to capture with her series, 'Eclipse'. A stunning collection of photographs taken in the beautiful city of Nice, where the light is bright and intense. Through her lens, Fanny has sought to bring to life the impressive contrasts between light and shadow, colour and geometry, the bright canyons created by the shadows of its narrow alleys and its colorful facades. But there's more to this series than just stunning visuals. Fanny has explored a much deeper concept in her work; something that speaks of transition, of anonymity and of individuality. Capturing the silhouettes of passers-by as they emerge from the shadows only to disappear back into them again. An exploration of how the shadows can erase identity, taking away the peculiarities and singularities of these anonymous figures as they pass through the light of the city. So join us as we take a closer look at Fanny's remarkable series, 'Eclipse'. As we explore the aesthetic, symbolic and conceptual elements that make this body of work so powerful and captivating. “I have a deep interest in mankind and his effects on his environment. He is always at the center of my photographs, whether directly or not, by the prints, the marks he leaves, by his constructions, his passage. It can be a silhouette, a shadow or a trace that gets lost, anonymous in the geometry drawn by the cities, the material or the color, one influencing the other. I’m moved by shadows, semi-darkness, lines and abstract shapes.” IN CONVERSATION WITH FANNY GENOUX THE PICTORIAL LIST: Fanny please tell us about yourself. When did you start getting interested in photography? FANNY GENOUX: I am a teacher and a mom of three. I have been interested in art in general for a long time and have always enjoyed making and creating things. Photography has been a pastime for a long time, but paradoxically, it is since I have children - and therefore much less time!- that my art has become more intensive and structured...and above all vital! Lately, I got more interested in street photography, but I think I have a peculiar approach to it. In the process of photography, all the stages from the shooting to the developing make me happy. Wandering, the first fundamental step in photography, is a moment that I particularly enjoy, even if I often come home empty-handed. I also like this part of "magic" and the fact that we will always come up with surprises, good or bad, when we discover what we have shot. TPL: Do you have a favourite quote that resonates with you the most? FG: I like this quote from Matt Stuart “Buy a good pair of comfortable shoes, always wear your camera around your neck.” I don't know how many times have I blamed myself for not having my camera with me! Or how many times have I had blisters on my feet because my shoes were not suited to my long photographic wanderings...For that matter, I finally got myself a lighter and smaller device that I always carry with me. TPL: Where do you find your inspiration? FG: Almost everywhere, looking around me: in the streets, the shapes, the light, the mundanity and the poetry of everyday life. TPL: Where is your favorite place to photograph? FG: Everywhere I go, but more particularly the streets of cities and of my city in particular: Nice. TPL: Has your style of photographing changed since you first started? FG: Yes and no. Yes, because when I started, I only photographed empty places, exclusively in black and white. Today, I really like color and I always look for human presence, directly or not. My eye is drawn to the same things though: my images are always very composed, constructed and contrasted. I like the way a photo can enhance reality and reveal poetry where it’s not expected. I also like to build my images. TPL: Do you prefer to photograph alone or with friends? FG: I photograph alone. When I photograph, I am totally absorbed and I can stay still and spend hours at the same place. It is not very much fun to be around me on those occasions! TPL: What equipment do you prefer to use? Do you think equipment is important in achieving your vision in your photography? Do you have a preferred lens/focal length? FG: I now know my camera well and it helps me to take my photos: I quickly know how to react, but I don’t master the technique very well. I only use the basic settings (ISO, speed, aperture). I think the important thing is above all what we see and how we photograph it, regardless of the device. I have a Canon EOS 7D, I usually use it with a 17-55mm lens. I also like the 50mm very much, but this camera is heavy and bulky so I recently got a smaller one that is lighter and more discreet. It’s a Sony RX100, and I am currently getting to know it! TPL: Who are your favourite artists and photographers? FG: I admire many photographers whose works are however very different from Koudelka to Martin Parr, Franco Fontana, Denis Brihat or Bernard Plossu. I am currently partial to the work of Saul Leiter. I also like to discover the work of the photographers from the Magnum agency. Painters such as Hopper or Paul Klee influence me as well. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? FG: I love books, and I am deeply interested in publishing. I have published 3 small books consisting of some of my photo series. I realized that I took great pleasure in this work: thinking about the layout, choosing the fonts, the paper, the shape of the book...it's something that I really like. I have the project of making another book, precisely on the Eclipse series. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? FG: Above all, I shoot for my own pleasure and I don’t have the ambition to live off photography one day. I hope it will remain a pleasure. Of course, I am happy when I can show my work and even more if the feedbacks are positive! TPL: “When I am not out photographing, I (like to)… FG: Work on my images!” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

JOURNEY OF FREEDOM After two years of stagnation and a few lockdowns due to the Covid pandemic, Gabi Ben Avraham went to the United States for a family visit in September. JOURNEY OF FREEDOM December 10, 2021 INTERVIEW PHOTOGRAPHY Gabi Ben Avraham INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For ardent street photographers, the world around them is like a feature film: a never ending story with frames that are just waiting to be captured. Gabi Ben Avraham, a passionate street photographer, is no exception. Through the lens of his camera, he finds beauty in the overlooked and mundane. His images are thoughtfully composed with each element carefully chosen to create a dialogue of its own - be it with color, shape or light. The Covid pandemic brought with it a period of stagnation and lockdowns, making Gabi’s recent trip to the United States even more special. His series JOURNEY OF FREEDOM speaks volumes of the joy he found in being granted the freedom to explore a new place and capture it in his own way. The images depict the forgotten people in urban surroundings, their fragile outlines and the beauty of their daily lives which are often crushed by the hustle and bustle of the city. In this interview, we take a look at Gabi Ben Avraham and his journey of street photography. Join us as we explore how his camera has become an integral part of him, and get a glimpse into his journey of freedom. “After two years of stagnation and a few lockdowns due to covid-19, I went to the USA on a family visit. I felt like a bird who finally flew out of its cage! The series depicts that wonderful feeling of freedom and expresses in a surrealistic manner the emotions of the people who went through covid-19, each of them in his own way.” IN CONVERSATION WITH GABI BEN AVRAHAM THE PICTORIAL LIST: Gabi please tell us about yourself. How did you become interested in photography? GABI BEN AVRAHAM: I am a 61 year old Israeli photographer. I was born and still live in Tel Aviv and work in a software company. After flirting with an initial fascination with photography and film cameras in the 1980s, I went on to pursue a career as an IT manager and put my love for the still image aside. Fortunately, my interest never disappeared. While the passion lay dormant for decades, all it took was the gift of a camera from my wife to awaken my inclination towards photography again. TPL: What does street photography mean to you? Describe your style. GBA: The Street is not a Studio. Sometimes I stand and wait for things to converge – a cyclist, a dancer, a child – moving along. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. Everywhere I go I take it with me thinking ‘maybe today will be my lucky day and I will take the photo of my life’. Via the camera lens I am constantly looking around me, searching for that ‘decisive’ moment that will never return, unless I catch it. When pushing the button, I try to make some sense, restore order to the chaotic scheme of things in the composition, tell the story behind the scene and frame a surrealistic moment. The components 'speak' with each other in a special dialogue, either by color, shape, or light. Capturing the elusive, special moment after which things will never be the same and making it eternal – that is my goal. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? GBA: When I visited Cuba, I was invited to a home and after a moment found myself surrounded by pigs. Maybe the word 'surprising'; is better to express what I felt. At first I was alarmed but eventually the whole situation was amusing. I like to observe people in religious ceremonies and festivals. I wait for the right surrealistic moment which will take things out of context and make them special. TPL: When you are out photographing - how much of it is instinctual versus planned? GBA: Both. I choose the background and wait for things to emerge. This is a long process. At a single click, I try to fill the insignificance around me with significance and create a private and intimate hallucination in order to share it with the viewer. Even though the moment fades, it is burnt in the memory of the viewer. Like a fisherman who goes to his daily work without knowing what he will catch, I take my camera and dive into the streets without knowing what will happen five minutes later. It is an adventure. When I click I try to see the surreal and to sort things out of their everyday meaning and their usual context. I have my favorite places and I never come with the same photos. It is always different: the people, the light and shadows, the atmosphere. TPL: What are some tips or advice you would give yourself if you started street photography all over again? GBA: Try to build your own style. Exercise a lot with the camera. Find your own Master and be open to critics. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GBA: I am inspired especially by Henri Cartier Bresson as well as Sebastião Salgado for their black and white images and by Alex Webb, Harry Gruyaert and Nikos Economopoulos for their fantastic work with surreal composition and great colors, and by many more talented photographers. 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? GBA: In general I believe that the equipment is just a tool so it doesn't really matter. As for myself I am using Fuji XT-3 usually with 18 mm (27mm) prime lens and sometimes Fuji 23mm (35mm) prime lens, because the camera is small, light and does not draw attention. I enjoy shooting with wide lenses which enable me to build a full story in the frame. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GBA: I want to continue travelling in the world and look for new locations to shoot. Let's hope that covid-19 will end soon so we can move freely around the world and I can do some serious projects, for example India. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? GBA: I want to have more exhibitions and work on a book which will depict my work. TPL: When I am not out photographing, I (like to)… GBA: Have some drinks with my friends, watch TV, go through some photographic books and listen to music. In short I like to enjoy life. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I first started photography around six years ago with a DSLR camera. But I only got seriously into this medium when I entered the world of film photography late 2017, by getting my first film camera the Canon AE1. Since then, I've let my passion guide me in this whole journey, mostly doing street photography. I chose a series of black and white images to share within the community of photographers. When I take black and white images, I like to play with the contrast, leading lines and isolated subject. I want to tell a story with my pictures and love to transmit emotions through my images. The series that I am presenting is the illustration of what I like to do, playing with the scenery, contrast and light. And just like how many photographers inspires me, I hope I can transmit emotions and inspire other people. Even more since that Covid-19 outbreak we need to all stay strong in this great photography community. KAREN MIKI ROHEE I first started photography around six years ago with a DSLR camera. But I only got seriously into this medium when I entered the world of film photography late 2017, by getting my first film camera the Canon AE1. Since then, I've let my passion guide me in this whole journey, mostly doing street photography. I chose a series of black and white images to share within the community of photographers. When I take black and white images, I like to play with the contrast, leading lines and isolated subject. I want to tell a story with my pictures and love to transmit emotions through my images. The series that I am presenting is the illustration of what I like to do, playing with the scenery, contrast and light. And just like how many photographers inspires me, I hope I can transmit emotions and inspire other people. Even more since that Covid-19 outbreak we need to all stay strong in this great photography community. LOCATION Provence-Alpes-Côte d'Azur FRANCE CAMERA/S Canon AE1 WEBSITE https://kmanalog.darkroom.tech/ @KM_ANALOG FEATURES // Discovering an Analog World

STORIES TO BE TOLD Focused on storytelling, Sophie Linckersdorff travels the world with the goal of taking pictures that are thought provoking and beautiful. STORIES TO BE TOLD April 23, 2021 INTERVIEW PHOTOGRAPHY Sophie Linckersdorff INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sophie Linckersdorff is a German photographer who grew up in a household of art dealers and thus had some early exposure to the art world. This later influenced her development as a photographer. Focused on storytelling and documentary photography, she is now a photojournalist, travelling the world with the goal of taking pictures that are thought-provoking rather than merely beautiful. “I was born and grew up in Bavaria, Germany. I became interested in art before I knew I would become photographer. I was strongly influenced by my parents, who are art dealers. When I was 15 I got my first camera. From this moment on it is my constant companion. Today my focus is on authentically visual storytelling and documentary photography. Since 2018, right after school, I study documentary photography and photojournalism in Munich. My passion has turned into my profession.” IN CONVERSATION WITH SOPHIE LINCKERSDORFF THE PICTORIAL LIST: Sophie, where do you find your inspiration? SOPHIE LINKERSDORFF: Absolutely everywhere. In the streets, in art, in the newspaper. Travelling, nature, people are my greatest source of inspiration. Paintings teach me how to compose images. TPL: Have you ever been involved in the artistic world before photography? SL: I grew up in a family of art dealers. That was my door opener for the world of art, for which I am very grateful! TPL: Do you have any favourite artists and photographers? SL: There are so many. I’m really fascinated by Henri Cartier Bresson, the street photographer Vivian Maier and Sebastiao Salgado. 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? SL: It is not all about equipment. Its mainly about observation and the sense of the "decisive moment". Vision is in mind, equipment helps to capture the vision you had for that shot. The most important tools are my eyes, not the camera. There is a story behind every single picture. I am open minded and I like to be surprised. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SL: My primary goal as an photographer is to tell stories and to share them. I do not intend to make “beautiful“ pictures. My pictures should be thought-provoking. In five years I wish to be a well-known international photojournalist and to reach a wide range of people with my photos. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SL: I am working on several long term projects. Let yourself be surprised and stay tuned. TPL: When I am not out photographing, I (like to)... SL: I love to learn foreign languages and travel around the world discovering new cultures. When I am home in Germany I love being in the Alps and going hunting. Thanks for listing me as a 2021 photographer. I feel very honoured. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. STEPHEN LASZLO Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. LOCATION San Francisco UNITED STATES CAMERA/S Leica M10 Monochrom and Leica Q2 Monochrom Reporter WEBSITE http://stephenlaszlo.com/ @STEPHEN_LASZLO_PHOTOGRAPHY FEATURES // On The Streets of San Francisco

I am an American photographer who has traveled internationally to see and photograph the ordinary and unique of life. I am a bit of an odd bird. I don’t see myself easily fitting into any one group. Many of my views consist of positions that one would tend to find in very different groups. I can have at the same time, feelings of inclusion and exclusion. I can feel both acceptance and as an Auslander. It is a bit of a cliché, though still true nonetheless, that the camera can be a passport. It can be a raison d’etre amongst people and peoples you wouldn’t ordinarily be amongst. I found/find myself both photographically and personally being energized and pursuing photography in what would be called (although I hate this term) “subgroups”. I did this for seven months in Kibbutz Bet Alfa in the Jezreel Valley at the base of Mt. Gilboa in Israel. And, then again, photographing for several years in a rural upstate New York bar that effectively serves as the town green in the hamlet of Andes, New York. And, as you can see in the accompanying photographs, in the Haredi community of Satmar Jews in Williamsburg, Brooklyn. MARK ZILBERMAN I am an American photographer who has traveled internationally to see and photograph the ordinary and unique of life. I am a bit of an odd bird. I don’t see myself easily fitting into any one group. Many of my views consist of positions that one would tend to find in very different groups. I can have at the same time, feelings of inclusion and exclusion. I can feel both acceptance and as an Auslander. It is a bit of a cliché, though still true nonetheless, that the camera can be a passport. It can be a raison d’etre amongst people and peoples you wouldn’t ordinarily be amongst. I found/find myself both photographically and personally being energized and pursuing photography in what would be called (although I hate this term) “subgroups”. I did this for seven months in Kibbutz Bet Alfa in the Jezreel Valley at the base of Mt. Gilboa in Israel. And, then again, photographing for several years in a rural upstate New York bar that effectively serves as the town green in the hamlet of Andes, New York. And, as you can see in the accompanying photographs, in the Haredi community of Satmar Jews in Williamsburg, Brooklyn. LOCATION New York UNITED STATES CAMERA/S Olympus OMD EM1 Mark 2 WEBSITE http://www.markzilbermanphotography.com @MARKZILBERMAN FEATURES // Hebrew Halloween

I am a Turkish street photographer. I started taking photographs in 2011 during my university years whilst I studied in the Cinema/TV department. In the beginning, I was shooting more architectural, landscape, portrait style photographs. Later I discovered street photography. The spirit of street photography drew me in. I saw that I express myself best by taking street photographs. I feel very lucky that I live in Istanbul, because Istanbul is one of the most beautiful cities in the world where street photos can be taken. EMIR SEVIM I am a Turkish street photographer. I started taking photographs in 2011 during my university years whilst I studied in the Cinema/TV department. In the beginning, I was shooting more architectural, landscape, portrait style photographs. Later I discovered street photography. The spirit of street photography drew me in. I saw that I express myself best by taking street photographs. I feel very lucky that I live in Istanbul, because Istanbul is one of the most beautiful cities in the world where street photos can be taken. LOCATION Istanbul TURKEY CAMERA/S Fujifilm X-T30 WEBSITE http://www.emirsevim.com @EMIRSEVIM @EMIR.SEVIM.96558 FEATURES // Finding The Magic Of Istanbul

My journey is a tale woven with a deep love for nature and a profound connection to the historical region of Bukovina in North Romania. After a decade immersed in the vibrant cultures of Germany and Austria, a transformative hike in Gura Humorului, my grandparents' town, took me back to the roots of my heritage. I made the decision to relocate and dedicate myself to discovering and promoting the hidden gems of the region. Armed with a tourism guide certification, I earned the authorization to serve as a local guide - an opportunity that allowed me to share the magic of Bukovina with others. ANA-MARIA ALB My journey is a tale woven with a deep love for nature and a profound connection to the historical region of Bukovina in North Romania. After a decade immersed in the vibrant cultures of Germany and Austria, a transformative hike in Gura Humorului, my grandparents' town, took me back to the roots of my heritage. I made the decision to relocate and dedicate myself to discovering and promoting the hidden gems of the region. Armed with a tourism guide certification, I earned the authorization to serve as a local guide - an opportunity that allowed me to share the magic of Bukovina with others. LOCATION Bukovina ROMANIA CAMERA/S Canon Powershot SX 540HS and SonyDSC-XV60V WEBSITE https://carpathianstories.picfair.com/ @_ANAMARIAALB_ @ANAMARIAALB FEATURES // A Tale of Nature and Heritage

I am a fiction writer and photographer from Calcutta and New York. My work has been featured in journals like the New York Review of Books and the New York Times Lens Blog and exhibited at places like the International Center of Photography, Art Basel Miami, and other venues around the world. In 2023, Fall Line Press published my first photo book, Photowali Didi, a project born from a five-year relationship with the residents of a nearby slum — a collaboration that deeply shaped my work and perspective. My first book of fiction, Not Quite A Disaster After All, is also out in the world. I currently teach part-time at International Center of Photography, and my first poetry collection is forthcoming in Fall 2025. Right now, I'm working on two projects close to my heart: Women and Bodies and Gender and Bodies in Art. BUKU SARKAR I am a fiction writer and photographer from Calcutta and New York. My work has been featured in journals like the New York Review of Books and the New York Times Lens Blog and exhibited at places like the International Center of Photography, Art Basel Miami, and other venues around the world. In 2023, Fall Line Press published my first photo book, Photowali Didi, a project born from a five-year relationship with the residents of a nearby slum — a collaboration that deeply shaped my work and perspective. My first book of fiction, Not Quite A Disaster After All, is also out in the world. I currently teach part-time at International Center of Photography, and my first poetry collection is forthcoming in Fall 2025. Right now, I'm working on two projects close to my heart: Women and Bodies and Gender and Bodies in Art. LOCATION Paris FRANCE CAMERA/S Leica m240 WEBSITE https://www.bukusarkar.com/ @BUKUAGAIN @bukusarkar FEATURES // The Ghost Self