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A CURIOSITY ABOUT LIFE Documentary and street photographer Eduardo Ortiz approaches photography with a curiosity about life and his love of light. A CURIOSITY ABOUT LIFE June 7, 2021 INTERVIEW PHOTOGRAPHY Eduardo Ortiz INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Eduardo Ortiz is a cook and street photographer from Valparaiso, Chile. Unfortunately due to the pandemic, Eduardo lost his job, and with it, his sponsor to stay in Sweden. Among the few countries open for tourism at that time, Turkey stood out as the best option for Eduardo. Without hesitation, he booked a flight from Stockholm to Istanbul. What started as a simple way to escape, evolved into a deep love for this country. Eduardo approaches photography with curiosity about life and his love of light. Travelling taught him to embrace light and shadow, and to feel deeply the influence it has had on his way of seeing and approaching the world. “While travelling I felt the need of sharing what I was seeing on my trips with my people back in Chile. Little by little I fell in love with the art of photography and began to study the ‘rules’, concepts such as balance, composition, etc. I tried all kinds of photography and then gradually became more and more interested in street photography. Now it is the sort of photography that best suits my way to see and approach the world.” IN CONVERSATION WITH EDUARDO ORTIZ THE PICTORIAL LIST: Eduardo please tell us about yourself. How did you become interested in photography? EDUARDO ORTIZ: I am a thirty-year old music teacher, street/documentary photographer and cook born in Los Angeles, Chile. Although I grew up in San Antonio I considerer Valparaiso to be the place where I woke up as an artist. It was in Valparaiso, the most cultural city in Chile, where I studied music and met artists of different disciplines from all corners of Chile. Now, I am currently living in Istanbul, a perfect playground to keep growing as a photographer. When I finished my career I felt that traveling was going to be the best way for me to keep learning and growing as a human being. At present, I haven't been back to Chile in almost 5 years, and lived and worked in countries such as Morocco, Sweden, Germany, France, among others. While travelling I felt the need of sharing what I was seeing on my trips with my people back in Chile. Little by little I fell in love with the art of photography and began to study the "rules", concepts such as balance, composition, etc. I tried all kinds of photography and then gradually became more and more interested in street photography. Now it is the sort of photography that best suits my way to see and approach the world. TPL: You shared your series of images called 'Pamukkale' below and for your portfolio. Tell us more about this. What inspired the concept? How did you approach producing the series...why black and white over colour? EO: Pamukkale is a place that gave me that feeling of "I am right where I should be", It felt something I would describe as a long "deja-vu", a feeling of "there is nowhere else I wish I was instead". Not long before being there I lost my job due to the outbreak and lost my visa to stay longer in Europe. At that time, Turkey presented as one of the few countries still open for tourism. When I got to Pamukkale, to my surprise, days of masks and restrictions seemed long forgotten. Covid-19, for me and those present, was merely a fragment of a nightmare. It was a normal day, with a surreal touch. I approached this series as I approach photography in general, with curiosity about life and my love of light. I chose black and white in this series to highlight even more the surrealism of Pamukkale. Pamukkale means "cotton castle" in Turkish, a name that I found spot-on, choosing a monochromatic colour scheme helps the viewer to easily imagine the cotton likeness of the salt piles. And last and not least, people usually dream in black and white, suppressing the colours helps to emphasize even more the oneiric quality of this place. TPL: Where do you find inspiration to create? EO: I find myself often chasing light and interesting moments, elements that can be found anywhere. TPL: What do you want people to remember about your photography? EO: I want people to remember that there is beauty everywhere. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Describe your process. EO: I usually try to go out with an idea or concept in mind beforehand, It might be something I want to express in particular or a series. Although I sometimes have no option but to let the images come to me, in that case, I just improvise. I find myself often chasing light and interesting moments, elements that can be found anywhere. TPL: Do you have a favourite place(s) to go photograph? EO: Hard question, how could I possibly choose one? I tend to show preference to places based on their mood or atmosphere. Pamukkale captured me because in a moment of fear and distance there seemed to be one bubble of the world unaffected. 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? EO: I think the equipment doesn't matter till it matters. I use Fujifilm cameras for their size and shooting experience. I have an x-pro2, an x-e3 and an x-e2, all of them suit my way of shooting, at the same time their size makes them way less intrusive than any full-frame DSLR for example. Also, the dials help me to easily set the triangle exposure. I mainly use 18mm, 35mm and 90mm (28mm, 50mm and 135mm full-frame equivalent approximately). 28mm is by far my favourite focal length, leave me on a desert island with it and I will still be happy. TPL: Do you have any favourite artists or photographers you would like to share with us? EO: I do, among my favourites, there are photographers like Ernst Haas, Cartier-Bresson, Robert Frank, Alex Webb, Fan-Ho, Fred Herzog, Saul Leiter, to name a few. I also find inspiration in painters such as Joaquin Sorolla, Claude Monet, Emile Claus, Guillaume Van Strydonck, among others. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? EO: My current goal is to learn to monetize my photography work. I hope that in five years I will be able to make a living out of my passion and will have seen many more places and cultures. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EO: I am currently working on series about life in Istanbul. TPL: When I am not out photographing, I (like to)… EO: I like to play music, learning languages, studying photography and wandering around. 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 photograph all around me, so my work encompasses multiple genres. I have an MFA from Pratt Institute in Brooklyn, New York, where I was greatly influenced by my teachers and classical photography. I began as a black and white film photographer. Being in the darkroom was my favorite place. Later, I began to paint on my photos. My conversion to working solely in digital color was a slow evolution, but here I am. SANDRA FINE I photograph all around me, so my work encompasses multiple genres. I have an MFA from Pratt Institute in Brooklyn, New York, where I was greatly influenced by my teachers and classical photography. I began as a black and white film photographer. Being in the darkroom was my favorite place. Later, I began to paint on my photos. My conversion to working solely in digital color was a slow evolution, but here I am. LOCATION Manhattan UNITED STATES CAMERA/S Sony A7R2 @SANDY10011 FEATURES // New York Visions

VISUAL ANTHROPOLOGY Bogdan Oiţă is a social worker and trusts in the power of photography in a social documentary and socio-emotional therapy way. VISUAL ANTHROPOLOGY December 9, 2020 INTERVIEW PHOTOGRAPHY Bogdan Oiţă INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Often, Romanian photographer Bogdan Oiţă likes to think that he deals with the rediscovery of meanings through his practice of film photography and trying to shoot relevant moments of people's lives and habits, beyond the supra-aesthetic aspects of photography. Bogdan is a social worker also studying visual anthropology, in which he trusts in the power of photography in a social documentary and socio-emotional therapy way. “Growing up in Targu-Jiu, a small city in Romania, I did not have access to a vibrant community of diverse crowds and spaces – one which I could identify with. Thus, I spent a lot of time by myself, increasingly drawn to the arts, which I eventually pursued academically, during high school. At my high school in Targu-Jiu, I was given the opportunity to explore the art field, learning about painting and graphic drawing. However, the very same environment that was supposed to be inviting, creative and positively challenging unfortunately became a significant source of social pressure and discouragement for me, which in turn negatively impacted the visions of exploring the arts that had permeated my life for so long.” IN CONVERSATION WITH BOGDAN OIŢĂ THE PICTORIAL LIST: Bogdan, can you please tell us when you first became interested in photography? BOGDAN OIŢĂ: Despite my personal struggles, my passion for visual arts has always prevailed, and is now more tangible than ever, in my profession as a social worker in Bucharest. Navigating social problems and field work in urban areas, through different lenses, equipped with tools from the field of social work, my previous artistic pursuits and my current studies in visual anthropology, I naturally developed an interest in photography and now find myself documenting urban life, from the streets of Bucharest, in my free time. In my perspective, there is an inevitably strong connection between the concepts and practices of social work and street photography or social documentary photography, and my intention is to highlight such connections, capturing and bringing attention to the complexity of everyday life. TPL: Where do you find your inspiration? And do you have a favourite place to shoot? BO: Urban life inspires me as it offers insights into the dynamics of daily social relations and interactions, different cultural aspects, and more fundamentally, the use or occupation of public spaces. In other words, I find inspiration in people, observing different social groups as they navigate the streets and public spaces of Bucharest. In many ways, I believe that street photography helps us understand a lot about the complexity of human life, including the cultures and subcultures that inform street interactions and behaviors, by observing the ways in which people occupy, interact and carry themselves in public spaces. Documenting life from the streets is particularly appealing to me, as I like to explore diversity and representation in the most vibrant, crowded places, where people have access to a wider cultural palette to choose from, in regard to self-expression. Generally, I think that 'Piața Unirii' (Union Square), in Bucharest, is one of my favorite places to shoot, as it serves as a meeting point where people from different social environments come together; it invites me to examine different social interactions and how such interactions transform urban environments. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? BO: In my work, I try to capture raw, real-life experiences and moments, as observed in the streets of Bucharest, as intimately as possible from a member of community. Through these observations and by applying perspectives from social work to landscapes for street photography, I can discover more about different social structures, mechanisms and relationships. More importantly, combining different practices, I can construct stories, but also learn more about people and to portray them truthfully, just like they are, to promote acceptance, tolerance of others and also minimising pressure on vulnerable groups. Based on my social work practice and field observations, I think that the lack of tolerance of other social groups is a significant social problem across all professional fields, including the arts, which we can see clearly now in different street protests around the world or relations between different cultures at this time of global pandemic. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BO: I find inspiration in different artists and enjoy a wide variety of artwork. I often stumble upon new, interesting pieces on a daily basis, especially at this time where digitalization of the arts is increasingly in demand or necessary for access. Further, even though the art industry consists of a rather small international community with limited political power invested in its artistic and cultural fields, the production of arts continuously evolves. We can witness a substantial expansion in the field of visual arts today; in many ways, the world becomes visual. There are more opportunities to explore artistry than ever, which also enhances access to the arts for the average person; it is not so difficult to find really good artists today, in comparison to the past. In my case, however, I believe that I am more influenced by different artistic styles and movements than by a particular artists. I am interested in symbolism, street arts and documentary works. Sure, I appreciate classical art works, but at the same time, I am concerned that we tend to forget about the present, used to living in the past and referring to somewhat outdated, or at the very least, limited standards, perhaps more in the artistic field than in others. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? And why? BO: From my point of view, the lyric or quote that you should keep close to your heart is one that makes you trust in yourself, in your capabilities and which strengthens your character. I like the lyrics from a Manele song: ”I feel like a Russian tank, whatever I do I don't get tired.” (Sorinel Pustiu –Tanc Rusesc). Maybe some people will find it stupid, not only because of the absurdity of the line itself, but because Manele's music comes from the most discriminated social group in my country. Regardless, it makes me feel better and makes me trust I can do what I want to do; I especially turn to this song when I feel energy less or hopeless. 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? BO: The photography industry can be absurd at times. People spend money that they don't have on technological features that they usually don't need in their photographic work. Unfortunately, the system of capitalism has penetrated this field too, and in many ways, photography has become a refined hobby for particular high standing social classes. Social pressure leads people with limited resources to involve themselves in toxic relations with the banks and credit institutions, merely to pursue their passions. I stress the latter, not because pursuing your passion is wrong, but because you should not have to suffer to achieve your goals, or to find yourself in a situation where you become heavily indebted just for trying to live your passion. I strongly believe that we can deliver high quality performance in our photographic work and projects, with modest equipment. For example, I currently use a film camera, a second-hand purchase, for $50, and I love it. I think film cameras can help you a lot when you are practicing different techniques and familiarizing yourself with the field of photography and the technical features or functions of the camera. In general, if I decide to buy a new digital camera, I am sure that I will choose a cheap one and that a simple equipment will be sufficient for my use. I believe that street photography helps us understand a lot about the complexity of human life, including the cultures and subcultures that inform street interactions and behaviors, by observing the ways in which people occupy, interact and carry themselves in public spaces. TPL: When you go out on the streets, do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you' or is it both? BO: In general, I always have something in mind or start off with some ideas based on elements of social work or particular theoretical perspectives that I find interesting and valuable to apply to practice. I also keep an open mind and explore my ideas while engaging in observations, of people or the street, which is like a river, always changing. Thus, I often discover new ideas or images that tell me more about social life and particularly, how social life expresses itself in a visual way. TPL: Have you ever been involved in the artistic world before photography? BO: I always had an interest in the arts, especially in the field of visual arts, which led me to choose a high school that specialised in such majors. During high school, I was interested in different art projects and art networking, but now I perceive and analyse arts more from the lens of social work and visual anthropology. I no longer have an empty slate from which I can look at arts in a 'pure' way; right now, I see arts as more of a tool to use to address social issues. TPL: What are some of your goals as a photographer? Where do you see yourself or hope to see yourself in five years? BO: In the future, I think that I would like to create an NGO that promotes street art projects and the right to use public space, supporting cultural and artistic expressions but also social integration or social justice initiatives. I often witness structural aggressions against different social groups in public spaces. While not explicitly articulated, there is the idea that not everyone is welcome in the streets, and certain mechanisms put in place to ensure such continued exclusion, often in a less recognizable or indirect way, to prevent strong reactions and social awareness. To fight back, I intend to resist and oppose such mechanisms, to specifically provoke strong reactions and make more people realize the significance of the discrimination we continuously perpetuate with our inaction. I particularly want to bring attention to the vulnerability of homeless people in the streets, who are constantly denied access to public space. Above all, I think that artistic and cultural projects can cover many social problems that prevail in public spaces. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? BO: Right now, I am in the process of refining my skills and exploring ideas for future projects, and I wish to develop a project that meaningfully contributes to artistic and cultural development, but also which addresses social issues. TPL: "When I am not out photographing, I (like to)… BO: I like to go for walks. While the streets offer significant value to me, I am also drawn to the streets on a daily basis, even when I am not out photographing. Walking makes me feel good and gives me energy to do my daily tasks. It also gives me the opportunity to connect with people and to discover unique life stories. Apart from my personal and professional interest in street life, I enjoy spending time on Instagram and other online communities, to meet people from all over the world, who share similar interests. 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.

UNDER THE SILHOUETTES Every time Asen Georgiev goes out to take photos he feels likes he is part of something bigger, but a part he can also just be himself. UNDER THE SILHOUETTES October 14, 2022 INTERVIEW PHOTOGRAPHY Asen Georgiev INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Asen Georgiev always felt a special connection with photography. As a child growing up in Bulgaria, he was drawn to the magical sound of his parents’ old point and shoot film camera. Little did he know, that that shutter sound was the beginning of a lifelong exploration of street photography. Today, Asen’s vivid photographs of people and their environments captivate the minds of many. They depict a world full of beauty and imperfection all at once, and show us the world through Asen’s eyes. Every time Asen goes out to take photos he feels like he is part of something bigger, but at the same time he can just be himself. His photographs have taken him to places he would have never imagined. From the lively streets of Sofia to the small villages in the Bulgarian countryside, every trip is an opportunity to discover something new and to capture it with his camera. Asen Georgiev’s works are a testimony of his love for street photography and how it has changed his life. His story will inspire you to explore the world around you and to capture its beauty through the lens of your camera. “Street photography can be inside, outside, you can have people in it or only buildings. It can be anything. This can be very challenging, though. In my opinion the biggest limitations to creativity is the lack of limitations. It's basically a love-hate relationship.” IN CONVERSATION WITH ASEN GEORGIEV THE PICTORIAL LIST: Hello Asen, please tell us about yourself. ASEN GEORGIEV: I was born and raised in Sofia, the capital of Bulgaria, a tiny little country in south eastern Europe. Where I grew up has massively influenced my work. As the most underdeveloped country in the European Union, there is a lot of poverty in Bulgaria. It was worse when I was little but it's still there, even more than 20 years later. Even now when you leave the bigger cities you see people living on the poverty line and struggling everyday. I guess that's why I was always fascinated by chaos and all sorts of different people from different layers of society. For that same reason I learnt that people are people no matter what's their income, where they live or what they do. That's one of the reasons why I got into street photography. I wanted to be able to capture life in the city, in its beauty and disfigurement. I'm still living in Sofia currently. I just finished my undergrad in marketing and am currently working as content marketing specialist in a startup, and doing freelance copywriting and marketing gigs whenever I get the chance. TPL: What drew you to photography? What was that moment that you decided to pick up a camera? Talk to us about your photographic experience on the streets of Bulgaria. AG: When I was little my parents had an analog point-and-shoot Beroflex camera and I adored clicking the shutter. Eventually I found out that this sound meant that a picture was taken. When my parents were coming back with the developed negatives from the photo studio, I loved staring at them and trying to invert the colors in my mind. Some years later we had a field trip organized from school and they let me take that same camera with me. I shot an entire roll of film for the few hours we were there and I loved every minute of it. Fast forward a few more years and smartphone cameras were getting pretty decent. I remember taking photos for an entire afternoon at a nearly deserted beach that my family and me went to and being very happy while experimenting with different compositions. Since then photography has constantly been a part of my life in one way or another. The year after my dad retired as a firefighter and bought me my first DSLR. It was a Nikon D3100 that really sparked my interest in photography. One more year later, in high school we had a complimentary photography class taught by a photojournalism lecturer from the Sofia University. That was my first contact with street photography and photojournalism. He was telling us stories about Sebastião Salgado, Henri Cartier-Bresson, Robert Capa, Garry Winograd and many more of photography's greatest. That's when my street photography journey began. Photography on the streets of Bulgaria can be very challenging at times. Not because people don't like it, even though that also tends to happen, but because a big part of the cities are the same. That's what communism does to your country after all. It loses a big part of its personality, loses many of its resources and is left bankrupt. Lately I find myself walking through neighborhoods in Sofia that I haven't photographed before. In summer it's great, there are always people outside, a lot of stuff going and plenty of scenes to photograph. In winter, though, it's dead. Everyone rushes home and there's only action at major bus stops and subway stations. But that's also got its charm. TPL: What is it that you love most about street photography? AG: The freedom. Street photography can be inside, outside, you can have people in it or only buildings. It can be anything. This can be very challenging, though. In my opinion the biggest limitations to creativity is the lack of limitations. It's basically a love-hate relationship. TPL: What are some of your most favorite places you find inspiration to explore through your photography, and what draws you there? AG: In 2021 I was lucky enough to be able to spend an entire month in Turkey. It's a breath-taking place. Not only Istanbul too. Every corner of it. There's always something going, there are people everywhere, selling, playing, running, smiling, doing all sorts of stuff. Before photography I wasn't nearly as attracted to Turkey as I am now, so I guess that's the place that I explored because of it. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. AG: It's very rarely that I'll shoot with a concept in mind. And even when there's something of a concept that I'm trying to shoot, it's very vague, so it's fair to say that I shoot what comes to me. I think my process is like any other street photographer's. I simply walk around. Usually my camera is easily visible and I never try to hide the fact that I'm taking a picture. If you try to hide it people are going to think you're doing something bad and either get uncomfortable or get mad at you. After going out to shoot I usually wait a few days or a week before editing the photos. That's something I learnt after starting to shoot film more than 2 years ago. The more you slow down, the more likely you're to end up with an ok shot. I like to disconnect. I want to be there and then and nothing else to exist. I often want to be invisible and simply capture what's interesting. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AG: Oh yeah, plenty. When it comes to photography, the photographers that have impressed me the most are Alex Webb, David Alan Harvey, Robert Frank and Sebastião Salgado. There are more, of course, but these are the ones that first come to mind. I believe the reasons why they're so significant is obvious to anyone who's seen their work. It's simply genius. It's pure art. About other artists... I'm very passionate about music so there are a lot of musicians that inspire me. There's the whole grunge era with Chris Cornell, Eddie Vedder, Layne Staley, and of course, Kurt Cobain. The movement they created, their music, their passion, their inability to give a fuck... It's unbelievable! TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? AG: I guess they have to be alive, right? That would be either Sam Abell, Alex Webb or David Alan Harvey. I put Sam Abell there as I watched a lecture of his online where he explained his process. The way he decides to tell a story, how he composes his shot, the dedication... All of it. Alex and David because they're my biggest inspiration. I want to see how they work in the field, how they see the world, how they interact with it. It would be like seeing magic. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? AG: I think it was that point-and-shoot Beroflex camera my parents had. I still have it too and it still works. I actually took one of my favorite photos with it last year. Now I mainly shoot with my Fuji XT-20 and my Ricoh GR III. I also use a few analog cameras, among which a Nikon FG-20 and a Russian Zorki 4. I think different equipment gives a different vibe to your work. If you shoot film, your photos will have more imperfections. That gives a lot of personality though. Digital is different. It gives you more room for creativity and kind of takes you closer to your subject. They're both great though. When it comes to wishlist...Well, I've wanted to get a Leica, be it digital or analog, but I don't think that's ever happening, with their prices always going up. I've also been considering getting a Fuji X100 series camera at some point. TPL: What role has the digital community played in your photography journey? AG: As a 25-year old my generation is the last that saw an analog world. This is great as it makes me appreciate how much freedom the digital era is giving us. Especially when it comes to the photography community. I'm glad to say that lately the street photography community in Bulgaria has been steadily growing. If it wasn't for the digital era, I wouldn't have met any of the other Bulgarian street photographers. And there's so much quality there. It would've been a shame to miss it. About my photography journey...well, the digital community helps you understand that the work you do is average at best. It helps you ground yourself and not think you're something you're not. TPL: What are some of your goals as a photographer? Where do you hope to see yourself in five years? AG: That's a tough one. I definitely want to keep shooting. I want to work on project, document life in all corners of the world, hopefully work with embassies. There are a few projects I have taking shape in my head and I hope I'll be able to complete at least some of them within the next five years. TPL: “When I am not out photographing, I (like to)… AG: I like to disconnect. I want to be there and then and nothing else to exist. I often want to be invisible and simply capture what's interesting.” 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.

Send us details about a book, exhibition or film related to photography. QUIRKYVISION Impertinent and humorous, Meryl Meisler plunges us back in time to the 70s and 80s in New York City. BOOK BETWEEN SEA AND SKY Through walking and flight, Massimo Lupidi reveals Cinque Terre as a landscape shaped by attention, endurance, and the intimate bond between land and human life. BOOK TÜRKIYE Rpnunyez offers a thoughtful portrait of a country shaped by history, culture, landscape, architecture, and everyday life. BOOK DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. GALLERY BUILDING A SOLID FOUNDATION Martin Parr Foundation supports photography and photographers of the past as well as genuinely mentors and creates new opportunities for photographers of the future. BOOK 18 >> 20 Elsa Arrais and Paulo Kellerman composed a simultaneously artistic, emotional, poetic and imagery portrait of Leiria in a predetermined period of time. BOOK AMERICAN BEDROOM Barbara Peacock opens the door of American bedrooms, illuminating the intimate thoughts, revealed through the bodies and souls of her subjects. BOOK TRAVELLERS & THE APPLEBY HORSE FAIR David Gilbert Wright has gained access to this close-knit community, to capture life at the remarkable Appleby Horse Fair. BOOK ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences. BOOK COMEDIANS In his new book COMEDIANS, Steve Best documents the British comedy scene backstage and onstage. BOOK GROUNDED Over the last year, photographer and digital nomad Samantha Brown, has documented the pandemic, mostly from the back of her campervan within local lockdown restrictions. BOOK THE PROVINCIAL Conflicting emotions. Good and sad memories. Antonis Giakoumakis takes us on a very personal journey about his province. EXHIBITION QUIRKYVISION: The French Connection Impertinent and humorous, Meryl Meisler plunges us into a captivating city and time, 1970s and 1980s New York, with her new exhibition. BOOK MELBOURNE UNMASKED Focusing exclusively on one city, AASPI's new book MELBOURNE UNMASKED presents a remarkable array of street photography that features some of Australia’s finest practitioners of the art. FILM FILL THE FRAME The popularity of street photography is greater than ever. Fill the Frame follows eight contemporary New York City street photographers documenting their journeys up to now. BOOK SMALL HOURS Through the night to dawn the following morning, Philip Butler takes us on a photo tour of Malvern that the tourist board probably wouldn’t sanction. EXHIBITION CITY OF IMAGES For the third year in a row, the small town of Baden near Vienna has become an outdoor photography gallery with the photo festival La Gacilly-Baden. BOOK OLD CUSTOMS Chris Suspect's new book combines visual references to Romanian fairy tales focusing on the ideas of freedom and youth tethered to history in the seaside town of Vama Veche. BOOK ISOLATION PORTRAITS Australian photographer Suzanne Phoenix captured intimate portraits in her hometown in the Yarra Valley during Victoria's Covid lockdowns.

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. THERE MY LITTLE EYES April 6, 2025 INTERVIEW PHOTOGRAPHY Guillermo Franco INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE ‘There My Little Eyes’ by Guillermo Franco is a deeply personal exploration of street photography, capturing fleeting moments of everyday life through the medium of black-and-white photography. This book, a fusion of Guillermo’s street photography with poetic and critical texts, offers a deeply introspective journey into the art of looking — where the act of observation takes precedence over the mere act of seeing. At the heart of ‘There My Little Eyes’ lies Guillermo’s distinction between seeing and looking. Guillermo distinguishes between seeing — a passive act — and looking, which he describes as an intentional, imaginative process that builds personal narratives. The book starts with texts, firstly by Rodrigo Fierro, then by Juan Travnik, followed by María Paulinelli. These texts establish a philosophical and critical foundation for Guillermo’s work. The poetry of Gastón Sironi serves as a structural element, reinforcing the interplay between image and language that deepens the book’s contemplative nature. The book also explores time and memory through Guillermo’s use of analog photography. The notion of the ‘latent image’ — a photograph that exists in the mind before being developed — suggests that Guillermo’s photography is as much about anticipation and recollection as it is about the moment of capture. He often waits hundreds of days before developing his film, allowing time to shape the meaning of his images. This philosophy stands in stark contrast to the instantaneous nature of digital photography and social media, where images are consumed and discarded at an accelerated pace. This deliberate delay by Guillermo adds a layer of mystery and self-reflection, transforming each photograph into a meditation on memory and perception. Guillermo captures urban life with a sense of wonder, often highlighting the humor, irony, and beauty in ordinary encounters. His photographs reveal an intuitive playfulness, echoing Juan Travnik’s observation that Franco possesses a childlike ability to be surprised. This perspective aligns his work with the tradition of the ‘flâneur’ — the wandering observer who collects fragments of human existence with curiosity and sensitivity. Guillermo’s unfiltered documentation of life aligns with the tradition of classic street photography, yet his photographs lean into poetic ambiguity. Shadows, reflections, and juxtapositions play a crucial role in his compositions, inviting the viewer to interpret the significance of each captured moment rather than prescribing a definitive meaning. Additionally, ‘There My Little Eyes’ resists the conventional categorization of photography as either documentary or artistic. Guillermo’s work exists in a liminal space where reality and imagination converge. His process recalls the practice of Henri Cartier-Bresson, who famously walked the streets sometimes “taking photographs” without film, training his eye to perceive without the immediacy of documentation. “Every so often I emulate it, I walk through life with an (analog) camera without film, and I look; I look and I press the shutter, I press it and I vibrate, I vibrate and I breathe, I breathe and I live.” Guillermo’s images are informed by a deep internalization of his surroundings — his gaze becoming the true subject of the book rather than the photographs themselves. ‘There My Little Eyes’ is a poetic meditation on the nature of photography, memory, and everyday life. Guillermo’s use of black-and-white analog photography, combined with a thoughtful selection of texts, creates a book that is as much about looking as it is about seeing. His approach challenges the viewer to slow down, to engage deeply with images, and to embrace the unseen layers of meaning embedded in the ordinary. By doing so, he continues the legacy of great street photographers while carving out a distinctly personal vision — one that values patience, intuition, and the quiet poetry of daily existence. ‘There My Little Eyes’ is more than a photobook — it is a meditation on time, perception, and the art of looking. Guillermo’s black-and-white analog photography, combined with poetic and philosophical reflections, creates a work that challenges conventional photographic discourse. By prioritizing intuition over immediacy, patience over production, and observation over documentation, Guillermo redefines what it means to engage with the world through photography. His photographs exist in a space where reality and imagination merge, allowing the viewer to construct their own meanings. In an era of visual overload, ‘There My Little Eyes’ serves as a tribute to the lasting impact of slow, thoughtful photography — an invitation to see beyond the visible and into the poetic depths of everyday life. We now move from the reflective nature of Guillermo Franco’s book to a conversation with the artist himself. “Looking is like seeing, but with feeling; like thinking, but with the eyes; like observing, but with the soul. In life, we first breathe, and then — soon — we open our eyes. I photograph to dream with my eyes open.” IN CONVERSATION WITH GUILLERMO FRANCO THE PICTORIAL LIST: What was the driving force behind creating your photobook ‘There My Little Eyes’? Were you looking to tell a specific story or explore a new way of presenting your photography? Guillermo: I just wanted to share my perspective with friends and acquaintances. The book wasn't meant to be sold. Once it was published, I gave away every copy. I like to say it's "out of print" without having sold a single copy. TPL: What was the most challenging aspect of creating this book, either technically, emotionally, or conceptually? Guillermo: We were four friends — Rodrigo Fierro, curator; Santiago Guerrero, designer; Gastón Sironi, editor; and me — making graphic decisions and celebrating friendship. Each workday culminated with an asado (a traditional barbecue from our country, Argentina) and a toast. We worked hard, yes, but we enjoyed ourselves immensely. TPL: Your book opens with texts from Rodrigo Fierro, Juan Travnik, María Paulinelli and poems by Gastón Sironi. Tell us about each of them and their importance to you in your life. Guillermo: People I admire and appreciate. Intellectual role models and emotional companions. Individuals as discerning as they are noble. I feel honored to have had their support. TPL: You emphasize the difference between ‘seeing and looking’. How has your understanding of this distinction evolved throughout your life? Guillermo: Seeing is simply exercising a sense, that of sight. Something that we all do in a similar way, as long as we do not suffer from a significant visual impairment. Looking, on the other hand, is a more unique, rich and complex action. To look may be a verb that includes other verbs: feel, desire, think, want, love... Seeing is something that involves us all. Looking involves each of us. And “all” is not the same as “each”. Not even the “all” is the sum of the “each”. Luckily, we all see the same things, but fortunately each of us looks differently. We see only the visible. We also look at the invisible. Looking builds looks. And that is the only heritage of photographers: their gaze. Photography is definitely a matter of looking. Not to see, to look. Ramón Gómez de la Serna says: “I am neither a thinker nor a writer, I am a viewer.” TPL: Your process involves long periods between capturing, developing, and sharing an image. Can you walk us through your emotional journey from taking a photo to finally seeing the developed print? Guillermo: Let’s Garry Winogrand answer the question for me: “You make better choices if you approach your contact sheets cold, separating the editing from the picture taking as much as possible.” Taking a photograph takes a moment, appreciating it...an eternity. TPL: Sometimes Henri Cartier-Bresson used to walk around shooting without film to train his eye. You have mentioned doing something similar. What have you learned from this exercise? Guillermo: What matters is the gaze, not the photographs. Prioritize the observation, the vibration of the instant, the snap, not the resulting images. TPL: You mention that your photography is neither artistic nor documentary but rather a ‘loving act’. Could you elaborate on what this means to you? Guillermo: I like to believe that my gaze is that of a child. Sometimes cheeky, shameless, innocent, immature...Also puzzled, without any certainty, surprised…At times affectionate, full of love, tender... “Tender” is a word that is uncommon in the glossary of contemporary photography, unfortunately. I always remember a song by Bob Dylan: “Everybody's wearing a disguise / To hide what they've got left behind their eyes / But me, I can't cover what I am / Wherever the children go I'll follow them.” And a reflection by Robert Frank: “Most of my photographs are of people; they are seen simply, as through the eyes of the man in the street. There is one thing the photograph must contain, the humanity of the moment.” TPL: The idea of ‘latent images’ is central to your work. Why do you still use analog cameras? Guillermo: For the sake of latent image. There, together, live the mystery of the shutter and the magic of the secret, the hidden. What's that? An intangible but enduring reverie, when a photograph (not yet developed) only lies etched in our retinas, our sensibility and our intuition. Jorge Luis Borges says: “Perplexity is the secret of the labyrinth.” TPL: If you could go back and give advice to your younger self, when you first started taking photographs, what would you say? Guillermo: So many tender moments... A foolish attempt to hold them in forever? Click! TPL: What do you ultimately hope to leave behind as a photographer? If people remember your work years from now, what do you want them to take away from it? Guillermo: I answer by paraphrasing a musical composition by Babasónicos: “Song (Photography) take me far away, where no one remembers me. I want to be the murmur (the look) of a city that doesn't know who I am.” TPL: When you are not out capturing those special moments of everyday life, what would we find Guillermo doing? Guillermo: Watching clouds, blowing dandelions, catching dreams... PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. URBAN ECHOES May 17, 2024 INTERVIEW PHOTOGRAPHY Rowell B. Timoteo INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the bustling city of San Fernando, La Union, Philippines, Rowell B. Timoteo leads a dual life — one as a dedicated government employee at the Provincial Government of La Union (PGLU) and another as a passionate street photographer. Rowell finds solace in the wisdom shared by Jhomardy Photography: “You are still an artist even if you pursue another career for financial stability.” Rowell’s journey into the realm of photography began in 2017, amidst the demands of his day job. Yet, amid the routine, he found fascination in the ordinary, capturing raw and unscripted moments that whispered tales of human experience. It wasn't long before street photography captivated his soul, offering him a means to weave stories from chance encounters and the extraordinary. Balancing an eight-hour workday with his passion for photography, Rowell discovered a symbiotic relationship between his two worlds. Street photography breathed vibrant life into his routine, enriching his perspective and influencing his decisions at work. Each click of his camera became a testament to the connections he drew between moments, revealing life in a different timeline. Through his project, “Echo,” Rowell invites us to join him on a journey through the streets, where faces and shadows converge in a dance of light and mystery. With each photograph, he draws us into a world where signs speak volumes and moments intertwine, offering glimpses of life’s intricate weave. In the midst of the urban hustle, Rowell’s lens captures the essence of human experience, echoing the stories of those who inhabit the city streets. Echo Hello there, faces and shadows, I see you stop, Eyes seeing a wonderful sight, I borrow your mysterious light. Staring silently, circling and waiting, My camera clicks, I am drawing a connection with signs. Moments intertwine, seeing life in a different timeline. IN CONVERSATION WITH ROWELL B. TIMOTEO THE PICTORIAL LIST: What initially sparked your interest in photography, and how did you find street photography...or did street photography find you? ROWELL B. TIMOTEO: In 2017, a year after I was promoted in my job as a Labor & Employment Officer II and was taking up my master’s degree in development administration - major in Public Administration. During that period, I encountered difficulties handling the pressure of working and studying at the same time. Before 2017 ended, I decided to buy my first camera with my end-of-year salary bonus. The first camera that I owned was a Fuji X-A10 camera, and from there, my journey with photography started. I was fascinated with insects, and my first interest in photography was sparked by macro photography. I enjoyed lone moments, improving my mental quickness, patience, and attention to details whenever I had time to photograph insects in our backyard. Three years later, in January of 2020, I accidentally found a street photography workshop advertisement on Facebook by a veteran photojournalist in the Philippines, Luis Liwanag. I got excited, quickly enrolled in the workshop, and took a trip to Manila, Philippines, with little knowledge about street photography. After the two-day trip, I suddenly fell in love with street photography. But the COVID-19 pandemic outbreak in 2020 challenged my motivation to engage in and learn the art of street photography. The pandemic limited my movement due to community quarantine restrictions in our area. With my strong dedication to learn, I constantly watch videos on YouTube, read various e-books about street photography, and still go outside to explore my surroundings. During that time, I discovered and joined this Facebook group, Street Walkers PH (SWPH), where I also started submitting my photos for a chance to get featured on the SWPH, but the group right now it's inactive. One of the SWPH administrators and street photographer from Davao, Philippines, Jose Miguel Lisbona, initially saw subtle details and connections in the photos I have submitted to SWPH. Miguel saw potential in me to do better and enhance my street photography knowledge, skills, and attitude. Miguel surprisingly reached out to me, and I was so happy for the gift and privilege to undergo a mentorship in street photography from him. He facilitated one-on-one learning sessions with me in three months via Zoom and work assignments helping me looking for my “Why” in making photos. Through the process, my “Why” manifested whenever I am magnetized to a particular scene. Miguel soon realized that my anchor in photography is “Moments of Meaningful Expressions Naging Totoo”, MOMENT. The #MOMENT became my visual anchor whenever I go out and shoot. The constant application of learning through the 52-week project photographic assignments conducted in separate locations (Luzon, Visayas, and Mindanao) I shared with Miguel and Marc Lozano, fellow street photographer from Ilo-Ilo City, Philippines in 2022, gradually taught me to be confident while shooting, feel the flow of moments and be visually connected with my surroundings. Later in 2023, I received the first fruits of my labor in street photography when I was included as one of the exhibition artists in the Fotomoto 22: Home Exhibition held in PAROLA UP Fine Arts Gallery, Quezon City, Philippines, and also included as one of the 100 finalists in the 24HourProject 2022 International Exhibitions held in Hong Kong and France. TPL: Can you discuss the significance of the title “Echo” for your photography project, and how does it relate to your experiences and observations? ROWELL: When I was consolidating my photos and looking at them multiple times, the word “Echo” popped up in my mind, and words started to flow in my thoughts. The life around me, the multiple faces I see, the stories developing with moments discovered — they are all echoes from different expressions borrowed from the gift of seeing things differently. It echoed with my inner thoughts to translate a candid documentation of everything around me — the mysteries and the unstaged reality. When carried out thoughtfully, street photography can remind us that we can be better at being human. TPL: What role does observation play in your photography, and how do you cultivate your ability to notice and capture fleeting moments? ROWELL: Observations always keep my seeing eyes active in capturing moments with the flow of time. As my curious eyes see, the wandering movements of everything around, being curious with my surroundings became my favorite practice and past time even when I am in a waiting situation. My eyes observe everything within my reach and stories keep on developing in my thoughts. TPL: How has street photography influenced your perspective on everyday life and the stories that unfold around you? ROWELL: Street photography helps me to confront my inner thoughts and give ease to my mind and soul. Going out and being with everybody around added to my contemplative moments where I can balance my thoughts and wisdom about everything in life. It taught me to visualize moments in front of me at a slow pace, capturing the essence of things and connecting with them lightheartedly. For me, street photography should be enjoyed, we discern beauty in ordinary things, and we are using that perspective to transform them in a creative way. TPL: Can you share any challenges you've faced while pursuing street photography alongside your day job, and how have you overcome them? ROWELL: Finding time and keeping my spirits high for pursuing street photography is quite challenging especially with the times I have to prioritize things that are more important to me. I need to work and be productive in order to provide a daily source of income for my family. Sometimes getting too busy with life, the creativity slowly diminishes. Busyness sometimes evolves as an excuse to distract my will to go out to capture moments and produce a good body of work. Even though I experience debilitating effects of working with so many things around, I continue to challenge myself to keep my passion with street photography alive. Sometimes, ego also interferes and distracts me; it pops out when we separate ourselves from others and feel superior to everyone else. It is a part of human nature, but I have learned to manage it. Having deep conversations with wonderful people who became inspirations to many and interacting with real humans helps me suppress my ego. I learn to manage my expectations by going back to the basics, starting again with little steps, creating boundaries, and enjoying the status of a consistent learner in this craft. A practice and a cycle of maintaining good habits and a positive attitude. It takes a lot of time to become successful in pursuing our craft, but we have to take care of ourselves too. TPL: How do you approach the ethical considerations involved in photographing people and moments in Philippines public spaces? Are there any particular laws you have to abide by? ROWELL: I love capturing candid moments of daily life at a fast pace, blending with the crowd, and preserving anonymity, and there are no particular laws to abide by when shooting in public places here in our province of La Union. However, all the time, I remind myself to be respectful and aware of the privacy of individuals in public places. Studying the social dynamics of the locations where I stand, and shoot serves as my guide in making decisions about the scenes I am about to capture. I carefully choose what and who to photograph, and if chance permits, I ask permission if it’s okay to take a photo in the area. I avoid taking photos of people who are obviously weak or vulnerable. I set my boundaries and I abide by my principles. We should never stop to appreciate everything we see. TPL: Can you describe to us your creative process when approaching street photography? Do you have any specific techniques or strategies that you employ? ROWELL: My guide when I am outside is making myself ready to blend with the surroundings, thinking like a child when shooting, being agile and flexible, and always ready to explore. Lastly, I make sure to enjoy the moment. I love hearing honest and constructive feedback from different people on my work; I am content with my way of seeing things; I love the process; and I do not become too attached to the outcomes by chasing likes, reactions, and social media clout. I shoot for myself. I accepted the fact that when I am shooting, I work within my limits. I always shoot in manual mode with a 23mm or 35mm lens. I love fiddling with the dials of my camera. TPL: Do you have any favorite artists/photographers you would like to share with us, and the reason for their significance? ROWELL: A few local artists and photographers from the Philippines inspire me and have made a great impact on my journey with photography. They are Miguel Lisbona, Marc Lozano, Romualdo Amarille Formentera, Jr., Clinton Anniversario, Raymond Tanhueco, Elpidio Juan, and Veejay Villafranca. That is why I am very thankful for street photography, because never in my life would my radar allow me to meet these wonderful people, who became instrumental in my growth in pursuing street photography. My accomplishments would not be possible without them, and my deepest gratitude goes to these great people for helping me see more with my personal vision and strengthen my courage to try my luck for multiple doors of opportunity for growing. In terms of international artists and photographers, I admire the works of Alex Webb, Joel Meyerowitz, William Klein, Daido Moriyama, Maciej Dakowicz, Alan Schaler, and Maika Elan. TPL: How do you stay inspired and motivated to continue pursuing your passion for street photography, especially during busy or challenging times? ROWELL: We never stop learning. However, it is a choice. By staying diligently focused on the same time, we progress. I practice visualizing everything around me by paying attention to the details in front of me, even without a camera in my hand during busy hours. A part of my awareness in my surroundings partially shapes my experience of the moment. We should never stop to appreciate everything we see. Chance encounters during unexpected moments open up endless possibilities and develop stories within our photographic eyes. Positive habits in personal life with creative curiosity can create more balance and happiness. 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? ROWELL: The first camera I held in my hand is the one I bought from my year-end salary bonus in 2017, and it’s a Fuji X-A10. I had it with me for two years, then I upgraded to the Fuji X-T1 and later added a Fuji X70 as my backup camera. Today, the only camera I have with me and am currently using is my Fuji X-Pro 2, paired with a 23mm lens. I am already accustomed to the Xpro 2’s features and limitations, and the 23mm lens forces me to think outside the box, be more creative and it allows me to use my zoom legs to go closer to my subject since it is not a telescopic lens. I love to include everything in the frame with the 23mm lens. I have no complaints with my current set-up and still appreciate the Fuji X-Pro 2 camera that I own and the 23mm focal length. 23mm is my everyday preferred focal length. For my wish list, maybe I can wish for a nice Fuji X100v. TPL: Can you share with us any future goals or aspirations you have for your photography, both personally and professionally? ROWELL: I have been a government employee for 15 years, have become successful in my career, and have enjoyed pursuing street photography for four years. As I have grown older, I have had a lot of time to think, reflect, and plan with my future. With my efforts to improve, my future with street photography became my present; it paved the way for me to earn unexpected accomplishments that I had not planned in my timeline. I have been included in multiple photo exhibits, both local and international, shared some winning moments in numerous photo contests, some of my submitted photo essays were published online, I became a community stringer and citizen photojournalist for PonD News Asia, I was able to document and write a story about a former turtle poacher turned to a hero of the sea, and right now, I have a chance to be featured on The Pictorial List website. These gifts came from learning diligently and practicing street photography religiously. TPL: And when you are not working or out photographing, what else would Rowell be doing with his time? ROWELL: When I am not working or out photographing, I am working on my thesis. I hope that I can finish it and be able to graduate with my master's degree. Aside from this, I make sure to spend quality time with my girlfriend after work and go home to Luna, La Union, her hometown, on weekends. I also spend quality time going out with my mother, watching movies and attending mass on Sundays. Bringing realistic balance to my work-life activities and cutting ties with the outside world allows me to recover from the pressure and stress of all of what is happening every day. Spending time with loved ones always energizes my mind and body. PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

BOOK TRAVELLERS & THE APPLEBY HORSE FAIR January 27, 2023 BOOK PHOTOGRAPHY David Gilbert Wright TEXT David Gilbert Wright SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Deep in the heart of the County once called Westmorland, near to the Lake District lies the small town of Appleby, nestled on the side of a valley straddling the River Eden. The Settle to Carlisle railway runs through this town, being one of the stops on it on what is known as the most scenic railway journey in England. Appleby has become known for the horse fair that first came into being in 1685. It is the biggest horse fair of its kind attracting thousands of people. So what actually happens at the fair? Travellers, Gipsy and Roma come from across the British Isles in the week preceding, a fair that is usually held in June. They travelled to Appleby using both motorised and horse drawn vehicles. Horses and ponies of all kinds, sizes and breeds arrive at the town to be exhibited, shown off and sold. The traveller community pitch up there bow-tops, motorhomes and mobile caravans in up to severn fields outside of the town boundary. They have been doing this now for centuries and as such, it has become a time when they meet and renew friendships, acquaintances and business bonds. I first became aware of the Appleby horse fair in the early 1980s quite by chance and in a totally different context. I was travelling India engaged in a different photographic project. I arrived in the desert town Jaisalmer in Rajasthan. It was the home of the Pushchair Camel Fair. It was here that a local told me of the horse fair in England. Many years passed before I got around to photographing it. I had seen other photographers’ pictures of the fair. They concentrated on the show parts like ‘The flash’, which is where those selling their horses ride them at speed up and down the hill into the town. Another well photographed scene is the horses being ridden around the River Eden. I realised that one aspect of the fair seemed to be relatively under photographed. It was the actual trading aspect. This involved getting the horses ready by washing and grooming and then doing the deal. It all takes place way out of town in the quiet roads and farm tracks near Gallows Hill and the Long Marton crossroads. Here you can find, if you are lucky, groups of mainly men sizing up the horses, haggling and eventually sealing the deals. Listening in to one deal, I heard the man suggest a horse was past it in order to keep the price down, while the other argued that it was capable of pulling a trap at speed. Each tried to position the price until a compromise was reached. Bluff and bravado were key and eventually they would spit on their palms and seal the deal with a handshake. (I was witnessing something that had not changed for centuries). Traveller, Gypsy and Romany people have for a long time been heavily involved with horses. They take them seriously and care for them greatly. However, these people have traditionally been regarded with suspicion when they arrive in a town or village. Why is that? Humanity has moved through a number of phases from its origins as hunter-gatherers. The advent of arable farming brought a need to settle and enclose the land to protect the crops. As production increased so did the need to trade surpluses. Settlements grew into market towns and the enclosure of more and more land put pressure on those still moving their livestock to give up that lifestyle. It is easy to see how the communities would regard such people as 'other' or outsiders. To protect their own way of life, settled people started to invent stories about the travellers as untrustworthy. Crimes were attributed wrongly to them. Even in recent times, we were told "Don't trust a tinker!" My grandparents were collectively grouping anyone who seemed to fit the bill of living in a caravan and moving around the country. The business of buying and selling horses was the province of men. Caring for the horses, exercising them and learning the ropes are what the young boys do prior to their rite of passage. Becoming a man to these families involves many things but one thing that is apparent is that horsemanship is in the blood. This can be seen during the fair as boys and girls come and go along the country lanes, riding the horses. Look closer and you realise that most ride 'bareback' with just a pair of reins. And the speed! What is it about the young? They seem to love speed. Galloping along with the wind in their faces, they are natural riders. Another thing you cannot help noticing is the boys sport very smart, hairstyles. Shaved around the back and sides and long on top, neatly combed and greased back. As they ride past or stand holding their horses they chat to each other, unaware of the way girls are looking at them. The fair is not just a place where people renew friendships and trade horses. It is where the emerging adolescents begin their journey into relationships and adulthood. Teenager boys would brag about how fast their horses were in the way that teenagers in our wider society talked about their cars. Teenage girls, who were just coming of age would be dressed so glamorously you might be mistaken thinking that you were at a prestigious fashion show. Their aim, I was told was “to get the attention of the of the lads” and they certainly did that! Pressure has been on the Authorities to curtail or even end the Horse Fair. However, the reasons put forward are dubious. The Police have stated that given the size of the fair with up to 10,000 visitors, the level of crime is extremely low with only 7 arrests in 2021, mostly for drunkenness. Only 29 tonnes of litter was left in 2021, much from the small businesses and all was cleared at no expense the ratepayers. Indeed, many local businesses benefit from the fair. It would be wrong to stop the Appleby Horse Fair for unsubstantiated reasons. It seems to be more a case of prejudice than actually evidence. PORTFOLIO CLICK ON IMAGES TO ENLARGE 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.

I am a graduate of Hindu College, University of Delhi, with a background in history and political science. I am an emerging documentary filmmaker and photographer with a keen interest in exploring cultural heritage, community narratives, and socio-anthropological themes. My photography focuses on capturing the interplay of tradition and modernity, emphasizing human stories with visual depth and cultural sensitivity. My approach combines immersive research with thoughtful composition, aiming to document the essence of underrepresented communities and their lived realities. ABDULLA SHINOSE CK I am a graduate of Hindu College, University of Delhi, with a background in history and political science. I am an emerging documentary filmmaker and photographer with a keen interest in exploring cultural heritage, community narratives, and socio-anthropological themes. My photography focuses on capturing the interplay of tradition and modernity, emphasizing human stories with visual depth and cultural sensitivity. My approach combines immersive research with thoughtful composition, aiming to document the essence of underrepresented communities and their lived realities. LOCATION Malabar INDIA CAMERA/S Nikon 5600D, Apple iPhone @ABDULLA.SHINOSE FEATURES // Clay and Ashes

LOOKING GLASS Always wanting to be creative, Barry Bottomley turned to photography as a way of expression. Now it is on the street that he finds his canvas. LOOKING GLASS December 15, 2021 INTERVIEW PHOTOGRAPHY Barry Bottomley INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As the sun sets on a warm summer evening, a lone figure stands in an unfamiliar street, camera in hand and eyes filled with curiosity. It is Barry Bottomley, an artist and photographer who has found his canvas in the hustle and bustle of urban life. For Barry, the bustling cityscape provides endless opportunities to explore his creative side and express his thoughts and feelings through photography. The streets are a source of endless inspiration for Barry. He finds beauty in the decay of old buildings, in the vibrant colours of street art and in the abstract forms created by the architecture around him. As he moves from street to street, he takes his camera with him to capture these moments of inspiration. He finds himself drawn to the abstract and to capturing the city's moods in subtle and sometimes unexpected ways. Whether it's a cold winter's night or a summer day at the seafront, Barry is able to capture these moments and transform them into vivid and powerful photographs. This interview presents a unique collection of Barry's work - a journey through his train of thought and a reflection of his inner self. Join us as we explore Barry's creative vision and discover the beauty he finds in the streets around us. “I look at places and wonder what's on the other side of the window, door or curtain. Or what must it be like to be in that space...or feel a sense of isolation...or to reflect on better times gone by.” IN CONVERSATION WITH BARRY BOTTOMLEY THE PICTORIAL LIST: Barry please tell us something about yourself. How did your photography journey start? BARRY BOTTOMLEY: Born in London, I am a London-based street and urban landscape photographer. My passion for photography began at school. I always wanted to be creative and had a go at sketching, painting, screen printing and pottery, but it wasn’t working for me. I tried photography and it just clicked, so I saved money from my pocket money and paper round and bought my first camera which was a Zenit EM. In those pre-digital days it was all about black and white film photography for me, so I taught myself the basics and learnt how to process my own negatives and develop my own prints. TPL: Tell us the full story behind your series that you submitted. Does it have a title? What is it about? BB: No, the series does not have a title. I’m not big on titles, outside of location and date for cataloguing purpose. However, the pictures are all taken either through a window, or reflections in windows, or of what is on the other side of the window. So there is a definite thread that links all the pictures. I tend to be drawn to whatever grabs my attention. I realised that I had built up a collection of images that, thematically and stylistically formed a series. It’s about using shapes, colours and textures and layering in an abstract way. TPL: How does this series relate to you as a photographer? What sparked your interest? What do you want the viewer to experience when they look at this series? BB: At school I wanted to do a screen print of a row of houses at night with the lights on in the windows, but could never get it right. I had a fascination with windows and light even then. This same fascination is at play here. I didn’t consciously set out to do a project with this in mind. This came together organically over a period of 18 months. What I want the viewer to experience is a very difficult question and I am not sure I have an answer to that. The images have a strong presence, so I would like the viewer to be drawn into the images, to spend some time looking over them and to pick up on the shapes and colours. When I took the pictures I was drawn to a sense of homeliness, journey and the past. TPL: What does photography mean to you? What inspires you? BB: When I am out with my camera I’m totally focused on the space I am in and what I am trying to capture. It is the means by which I can connect with society and the environment and express them visually. The street inspires me to look closely at my environment, not just the people in it, but the landscape they occupy. When good light gets thrown on it and the whole scene opens up the possibilities are endless. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BB: Don McCullin is the photographer responsible for me picking up a camera in the first place and I am still a huge fan. Otherwise Saul Leiter, Daido Moriyama and Fred Herzog have all had a big influence on me and I love the work of Alex Webb, Joel Meyerowitz, Vivian Maier and Diane Arbus, to name but a few. Through Instagram I have discovered many photographers whose work I like, but particularly Suzanne Stein stands out for me particularly. TPL: What have been some of your favourite memories or moments in your photography journey. What have you personally gained from your experiences? BB: I have fond memories of developing and printing my black and white photographs, and watching the image emerge on the paper. The whole darkroom experience not only evokes moments in my photography journey, but it connects to a specific time in my life too. I have learnt to slow down. When I’m on the street I need to be able to not only see what is in the here and now, but to anticipate what may happen next. When I apply this philosophy to my daily life, I often find life less complicated. The street inspires me to look closely at my environment, not just the people in it, but the landscape they occupy. TPL: When you are out photographing - how much of it is instinctual versus planned? BB: It’s mostly instinctual. I have projects that I work on, but my best shots come through an instinct to gravitate towards what I like the look of. I read recently about Mindful Photography where the camera becomes an extension of your mind and you let your subconscious take over. I realised this is how I work. Even if I only get one photograph I like it doesn’t matter as long as I am out with my camera. TPL: What are some tips or advice you would give yourself if you started photography all over again? BB: When I started out it was still all about film. Digital has radically changed the way I take photographs as there are no restrictions on how many pictures I can take. My advice would be to enjoy the process. Learn how light works and the camera basics. take a lot of photos and don’t be too concerned with the results and likes on social media. Be inspired by other photographers, build a book collection, go to exhibitions, look on Instagram, but take time to develop your own style and don’t rush things. 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? BB: Yes, it does. I use a FujiFilm X-T3 and X-E3 and also carry around a Ricoh GRIII most of the time. I tend to use either 18mm for street photography and 50mm for landscapes although recently I have been interchanging lenses using 18mm for landscapes and 50mm for street. I’m keen to explore street photography using a 50mm focal lens to gain a different perspective and to allow more space between me and my subject. I like to have both lenses to hand most of the time. When I’m lazy I’ll use my 16-80mm XF Zoom. Ricoh GRIII is great as it’s dead easy to switch from a 35mm or 50mm crop and offers a great Image Control menu, especially where black and white is concerned. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? BB: Happily still walking the streets of London snapping people and places I see on it. I’d like to exhibit my work and am planning to self-publish a book within the next 2 to 3 years. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? BB: I am terrible at starting projects; running out of steam, then the parking them. However, during the second half of this year I started a project on English coastal towns with an eye to the relationship between local landscapes and its people. I’m still very excited about this and have plans in place going forward. Fingers crossed for a successful conclusion to this. TPL: "When I am not out photographing, I (like to)… BB: Listen to music, go to my local theatre, have the occasional meal out and in the spring/summer tend to my garden. I also like to buy books about photography, an discover new work and go to exhibitions." 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.

COMMON MOTIFS Astrid Neundlinger strives to find unusual perspectives, interesting lighting and potential in common motifs. COMMON MOTIFS June 29, 2020 INTERVIEW PHOTOGRAPHY Astrid Neundlinger INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photographer Astrid Neundlinger strives to find unusual perspectives, interesting lighting, and potential in common motifs. Born and raised in the quiet countryside of Austria, Astrid first discovered her love for photography when she moved to the city of Vienna at the age of 20. Longing to process the impressions that this new chapter in her life brought on, she bought a cheap digital camera and set to work. Astrid began with a 365 days project - taking one self portrait every day for a year - teaching herself photo processing along the way, and experimenting with Polaroid and different types of photography, such as macro and landscape. After taking a break from photography for a few years, Astrid's passion for photography was finally reawakened when she discovered smart phone photography and joined Instagram. She has recently focused on cityscape photography. “I started getting interested in photography around 2008 when I was a university student. I had just moved away from home into a new city and was looking for a new hobby. I discovered the community on Flickr and became a passionate amateur photographer pretty quickly.” IN CONVERSATION WITH ASTRID NEUNDLINGER THE PICTORIAL LIST: Where do you find your inspiration? ASTRID NEUNDLINGER: When I haven't taken photos in a while looking at other artists' work in galleries, exhibits, or on Instagram always inspires me. It revives the way I look at things. What also works are small assignments I give myself - going on a photo walk and taking pictures from a specific perspective or with a theme in mind, such as incorporating negative space into each photo. TPL: Who are your favourite artists and photographers? AN: My absolute favorite is Elizaveta Porodina. Her work always inspires me - it is as creative as it is versatile. Apart from her, I admire the work of Vivian Maier and Martin Parr. TPL: Has your style of photographing changed since you first started? AN: I used to experiment a lot with post processing in the beginning, which is no longer part of my style. I mostly use my phone to take photos now, and I enjoy the spontaneity that comes with it. Before smartphones I used to pack up one or two cameras and head out with a project in mind. Although that had its advantages, I prefer the more documentary approach that comes with bringing my phone i.e. camera everywhere I go. Having a smartphone camera with me at all times gave me back my photographic eye, and that's what counted. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AN: From my early days using a cheap camera I learned that creativity does not necessarily need high quality equipment. That is not a requirement for taking interesting photos. I think what counts is developing an eye for interesting scenes, places and motifs, and cultivating your own style. Having a smartphone camera with me at all times gave me back my photographic eye, and that's what counted. To beginners I'd recommend to experiment, not to be too harsh a critic of their own work, and most importantly to have fun with it. TPL: If I wasn't photographing what would I be doing? AN: I am grateful for being able to work creatively and take photos in my day job. I can bring my hobby and my work together this way. It helps me with remaining creative in my spare time, too, and keeping my eye out for my next photo. PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

PHOTOGRAPHY AND REALITY In her project BODY NO BODY, Ypatia Kornarou draws its inspiration from the daily life of modern lifestyle in western culture, where the approach mainly focuses on satisfying the social expectations and meeting material needs. PHOTOGRAPHY AND REALITY BODY NO BODY March 3, 2023 INTERVIEW PHOTOGRAPHY Ypatia Kornarou INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE We have the pleasure of introducing a photographer with a unique and innovative way of visual storytelling. Ypatia Kornarou was born in Athens, Greece, where she lives and creates her photography today. Ypatia has been inspired and drawn to artistic photography since she launched her career in the photographic world. While participating in international and domestic photography festivals, Ypatia finds valuable time to write articles presenting photographic material in the magazine “Photonet”. Ypatia explores her ideologies, choosing the photography of theatrical and dance performances to translate and communicate her stories. “In my evolution, the moment when thoughts and feelings came, I felt ready to communicate, creating photographic projects.” Last year Ypatia became actively involved in social media, especially on Instagram, where important international photography communities continue to support her and present her photographic work. Ypatia explains her visual translation process. “Photography taught me to ask myself which is the reality, where it is and whether it exists. Quite early on I undid the illusion that I was photographing reality. So, I started studying the frame and my aim was to understand the content. I concluded in endless ascertainments. Sometimes I turned them inside and some other times outside. In time I realized that everything I allowed to enter in my field of vision was the 'signified' of my existence. The composition of a photograph is everything that is absent or existing in the soul of a photographer at the moment of the 'click'. A picture cannot exist if it has nothing to say and the photographer exists because she can communicate pictures. In this point there exists a tiny deception from the picture’s view: ‘it promises reality’ just like it happens in illusive love when ‘it promises the ideal’. The photographer does not use words, she has the frame for communication. She does not possess reality, not even her own reality but, for sure, she is contained in what she imprints with the camera. Every shooting is a search, only that the dive happens mainly in the unconscious.” Several times Ypatia’s thoughts on photography have been hosted along with photos of her, on important sites (“Photologio”, “Nexus Media”, “Lifetone”, “PolisMagazino”). From 2009 until today she photographs Theater and Dance Festival (“Young Artists – The 12 Coupes”, “Contemporary Dance-Compartments Dance Project” at “Train in Rouf”). She recently transmitted her knowledge in to photography seminars organized by art schools or places of creation and art (Tabula Rasa, Orneraki School, Compass Theater, and Spring People). Ypatia has been gracious enough to share with our readers on The Pictorial List, a new series of photographs from her project: BODY NO BODY. Ypatia explains her intentions and concepts that have driven this intimate series. “BODY NO BODY draws its inspiration from the daily life of modern lifestyle in western culture, where the approach mainly focuses on satisfying the social expectations and meeting material needs. The nudity in the photographs represent consciousness and the consequences we accept due to the fulfillment of social conventions. The body of a modern person carries the requirements of a “social normality”, thus excluding its own “bare reality”. The mental state is housed in a neglected body where the satisfaction of emotional needs is at stake. Humanity seems to be in a constant negotiation for its existence. Interpersonal relationships are hovering in space created by the lack of meaningful communication.” IN CONVERSATION WITH YPATIA KORNAROU THE PICTORIAL LIST: Hello Ypatia, please tell us about yourself. What would you say first drew you to photography? YPATIA KORNAROU: I was born and raised in Athens, the capital of Greece, where I still live to this day. I first studied accounting and then I worked for several years in this profession. I fell in love with photography during my childhood, when I discovered a water gun shaped like a camera. I was only nine years old. Later, during my young years, when the dilemma between photography or studies in economics arose, logic prevailed. I chose a secure professional future. Then, an unexpected health issue arose that prompted me to return to the things I really love. Of course, the first one was photography. TPL: Your photography is intriguing, thought provoking. How would you describe your photography to our readers, and tell them what you are trying to achieve artistically? Describe your creative and critical thinking process for us. YK: First of all, I would like to thank you for the beautiful comments you made about my photography. My artistic approach is mainly based on the process of self-therapeutic introspection that takes place during the creation of photography inspirations. I cannot deny, however, that I would like the viewers to be able to meet parts of themselves in my work, and at the same time to dive deep into their inner identity. TPL: What inspires your unique visual storytelling? Where do you find your inspiration to create? What importance does storytelling or key themes hold for you? YK: The narration in a shot is of utmost importance for the dynamic of visual communication. We can say that it is essentially a “gift” that the visual field possesses since words are absent. I put a lot of emphasis on narration, because I feel the need to narrate but also because I have the desire for someone to be there to understand. This is how I try to channel my words, through visual recording. Their truth. So, because I believe in the identity of the work, I draw inspiration mainly from the way I perceive the world and myself. If we accept that everything is potentially an inspiration. Where we will focus is the timing of an indiscernible attraction. The theme of inspiration includes everything that art means. An artist can only be a creator when they are inspired. Anything mistaken for imitation is not the artist’s personal confession, therefore it is not their truth. So, because I believe in the identity of the work, I draw inspiration mainly from the way I perceive the world and myself. TPL: We all have influencers and people that inspire us to think differently, ultimately challenging us to express ourselves and ideologies in new ways. Do you have any favorite artists you would like to share with us, and the reason for their significance? YK: Indeed, I would say that the admiration of other artists that have a significant influence on our inspiration is absolutely necessary. Personally, my photographic capturing is influenced by the work of the Irish novelist-poet-playwright Samuel Beckett. As an exponent of the artistic movement, “The Theatre of the Absurd”, Beckett marries the dystopia of human suffering to black humor in a minimalistic depiction. Well, right there, in these elements of Samuel’s literary interpretation lies the driving force of my inspiration. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? YK: There are many photographers I admire, even when the approaches are different. I believe that unconscious interactions occur, thus forming new perspectives. But I have my own special preferences, mainly because some artists speak directly to our inner identity. So, if I had to choose, I would choose the photographer Laura Makabresku. Her work, contemporary, deeply inspired, captivates me and slowly dives me into a dreamlike journey. What we admire is not random. We usually see in other photographers’ work our own emotions that haven’t become photographs yet. Photography taught me to ask myself which is the reality, where it is and whether it exists. Quite early on I undid the illusion that I was photographing reality. TPL: Your work you have shared has an important connection to place. What have been some of your most favorite places to photograph, where do you find inspiration to explore through your photography, and what draws you there? YK: I love and I am inspired by anything that has memories, colors, smells, sounds, music but above all anything that is full of the element of abstraction. Almost obsessively, I enjoy discovering abandoned buildings that have an exciting story to tell. I perceive the discovery of the location as a journey of exploration through space-time. It functions in a completely liberating way for the whole process of a photo shoot. A lot of times I don’t know from the beginning where I will drive my car to, and that is the beauty of wandering, that I can lose control and drive in front of a place full of dirt or a wall that is ready to fall. Nobody knows, until they discover. TPL: We all face obstacles along the way, what are some of the challenges you have faced as a photographer? How have you overcome them? What made you persevere? YK: I agree. That’s exactly how it is. Many obstacles occur, the hard thing to do is to insist. I think that the biggest challenge I had to deal with as a photographer is the struggle with myself. That is, to be able to overcome my fears and insecurities so that I don’t stop believing in my photographic dreams. As weird as it may sound, the covid period was the cause for me to believe more in myself as an artist. Of course it didn’t happen by accident, as I lost my job and everything I had invested until then, but photography was there to heal me. The abundance of free time provided what I would call a rare opportunity for introspection. What has made me persist is probably “that it couldn’t have happened any other way”. But isn’t that what happens with everything we love? TPL: When I am not out photographing, I (like to)… YK: See landscapes, empty of people. In this way I manage to coexist with nature, breathing oxygen and smells. Concept / Idea / Photography: Ypatia Kornarou Video Art: Ilenya Lekka Models : Nadia Valavani, Angie Filinta, Antonis Karastergiou, Miranda Zisimopoulou, Vasilis Psyllas Production Assistant: Elizabeth Efstathiou 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.