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I am a passionate photographer from Bangladesh. Mostly I do street photography and have special interest in spatial landscapes. I am a believer in the beauty that surrounds us. It's not always about going to exotic locations to find beauty. I look for that beauty in my own neighborhood believing in its simplicity it has to offer. AHSANUL HAQUE FAHIM I am a passionate photographer from Bangladesh. Mostly I do street photography and have special interest in spatial landscapes. I am a believer in the beauty that surrounds us. It's not always about going to exotic locations to find beauty. I look for that beauty in my own neighborhood believing in its simplicity it has to offer. LOCATION Dhaka, BANGLADESH CAMERA/S Nikon D7200 @FAHIM_DEOBSCURA FEATURES // Spatial Landscapes The Outskirts Grief of a Megacity Celebration of Life

HOMEMADE COSMOS Leonardo Cassi's aim is to break the banality of objects by showing their hidden different faces, to create a moment of science fiction. HOMEMADE COSMOS May 4, 2022 INTERVIEW PHOTOGRAPHY Leonardo Cassi INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The world of visual creation is a vast and mysterious realm, full of beauty and complexity. It takes a special eye to capture the hidden depths of everyday objects and transform them into something extraordinary. Enter Leonardo Cassi, a graphic designer and photographer who is driven by an insatiable curiosity and appreciation for the nuances of everyday life. With his series HOMEMADE COSMOS, Leonardo has crafted a captivating and surreal universe from the ordinary. Using high contrast and unexpected angles, Leonardo is able to capture the true essence of his subjects. His eye for detail and creativity is unparalleled, as he strives to unlock the mysteries of the mundane. He seeks to uncover the soul of a scene, to show how even the most mundane objects can be imbued with life and emotion. In Leonardo’s world, nothing is boring; everything has the potential to become something remarkable. Through his photographic artistry, Leonardo hopes to inspire others to look beyond the surface and see the world with new eyes. By pushing the limits of imagination, he hopes to show that anything is possible. As he says, “There’s no such thing as a banal subject. Everything speaks, if we learn how to perceive.” With his work, Leonardo invites us on a journey of exploration and discovery, into the depths of our own creativity. “HOMEMADE COSMOS is a demonstration of my definition of photography: it is a tool which enables me to detect and explore the hidden dimensions of my subjects. Each shot recreates an astronomy or science fiction scene from the normality of daily things. The contrast is always very deep and the lighting is dim and directional, to turn the ordinary into epic. More than the beauty of what’s in front of the lens, I am interested in its essence. I try to capture its soul, which sometimes hides in the shapes, sometimes in the color rhythms, sometimes in the structure of the material or in the battles between shadows and lights.” IN CONVERSATION WITH LEONARDO CASSI THE PICTORIAL LIST: Leonardo please tell us about yourself? LEONARDO CASSI: I was born and raised in Milan. Milan is a business-oriented city, but its cultural and artistic life is very dynamic and, at times, you can still breath that unique creative atmosphere from the sixties. This element surely contributed to inspire my studies and my passion for art. Nowadays everything is unfortunately more fashion-oriented and everything must be trendy and expensive. That's the part I like less and one of the reasons why I moved to Prague, where I live and work as a photographer and graphic designer. TPL: What draws you to photography and art? How did your journey into photography begin? LC: Visual creation has always been a vital necessity for me. My first contacts with photography started with my dad, who owned a nice Yashica reflex and made me often try it and experiment with it. I then expanded this passion during the audio/video classes in my secondary school years and ended up studying ancient art and literature in university. After it, I took a postgraduate master class in photography and graphic design in Milan and other two classes in Prague. During those years I started having my first exhibitions. TPL: Talk to us about your method of working and experimentation before the final image. Did you know exactly what you wanted from the beginning? How long did each image take to create? LC: In my photography I often use long exposure times with close shutters. The lighting is often direct and involves the use of flashlights, infrared lamps, candles, or simple daily light. What I try to accomplish is breaking the daily object's apparent banality by showing their hidden different faces. I usually don’t have the scene already built in my mind before. I rather look away for a bit, to let the objects express their soul freely. TPL: Does your project HOMEMADE COSMOS differ from your previous work? Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects? LC: This series is a precise example of my photography and my expression: turning the banal into epic. For my next exhibitions, I’m working on two new parallel series. One focused on the apparently alien beings that can be found in our daily food and the other dedicated to the imperfection and incompleteness of reality, in black and white on film. The main core of my experimentation is the exploration of the voids and volumes of the daily objects. TPL: What do you want people to take away from this series? What do you want them to be asking themselves? LC: Photography and art are simply my language of expression. I don't take photos because of a passion, but through them I try to express myself. My introvert nature has always failed me in actively showing my voice, my thoughts. Through conceptual photography I feel perfectly free to dare, to tell what I feel and I believe. Creating and enjoying art has always been for me the most powerful tool to merge with the rest of the universe outside my shell. The final aim of my expression is taking my viewers a bit beyond the apparent reality of daily life. To give my subjects a moment of glory in their boring, unnoticed life. I never found interesting getting an expressive shot of an already beautiful subject. On the contrary, I believe that a good challenge for photography – and for art in general – is to transform blend subject into an intense scene. Because there’s no such thing as a banal subject. Everything speaks if we learn how to perceive. Creating and enjoying art has always been for me the most powerful tool to merge with the rest of the universe outside my shell. 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? LC: I use a Canon EOS Mark V reflex for digital and an EOS 33 for film. In the great majority of my shootings, I use the tripod. My favorite lenses are 70-300mm macro and 50mm portrait. The choice of field is usually deep, using longer exposure times and close shutters. I rather keep a low ISO and prolong the exposure time, to avoid grain. TPL: Is there any advice that you would give yourself if you started photography all over again? LC: If I started studying photography all over again, I’d surely focus much more on the film developing techniques and on the experimenting part from the beginning. Also, to be more social, to reach out more to fellow students and professors, to be better at networking and PR. That has always been my weakest side. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? LC: The photographers who most inspired me and influenced my work are Josef Sudek, Man Ray, Harry Callahan, André Kertész, and Ansel Adams. The last four mainly for their work and techniques, Josef Sudek also for his way to share his soul with his photography subjects. TPL: If you could just choose one photographer to photograph with for a day...who would you choose? And why? LC: A day with Josef Sudek would certainly be a priceless life experience for me. I’m not talking only from a photography and technique side, but also from a human perspective. His solitary life inspired him his magical relationship with the daily objects and the views of his little universe. His intense and metaphysic perception is something I’m constantly seeking, shot after shot. TPL: "When I am not out photographing, I (like to)... LC: I love playing Lego with my son, cycling and jogging, reading while drinking coffee and eating cookies, hiking along mountain pines." 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.

PICTORIAL STORY ZAINAB THE SUPER FARMER Kenyan photographer Anwar Sadat profiles Zainab, a smallholder farmer whose life was transformed through support from the One Acre Fund. With new knowledge and tools, Zainab boosted her harvests, earned recognition, and built a better future for her family. Discover how one farmer’s story reflects the growing impact of agricultural education across Kenya. August 6, 2021 PICTORIAL STORY photography ANWAR SADAT story ANWAR SADAT introduction KARIN SVADLENAK SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Kenyan photographer Anwar Sadat is passionate about documenting the hard-working people in his neighborhood and in his country. Often, he makes and effort to visit particular projects and highlights the accomplishments of initiatives to improve people's lives. For this story, he visited the farmer Zainab, who participated in a project by the One Acre Fund and had won several awards for her efforts. Anwar tells the story of super farmer Zainab, who was able to improve her standard of living quite a lot because of the farming education programs she participated in. We salute Zainab and all hard-working people like her! Earlier in 2020 between August and September and this year 2021 in May, I visited Zainab Onjwang to do a story on her and about One Acre Fund, a nonprofit organization that supplies smallholder farmers in East Africa with asset-based financing and agriculture training services to reduce hunger and poverty. Zainab is 78 years old and has been a member of One Acre Fund for 10 years. The fund has been providing her maize seeds, vegetables, tree seedling and fertilizer at a fee that she pays back over a period of six months. Throughout the farming cycle, all the farmers registered as members of the One Acre Fund receive training and support on cultivation, planting, pruning, harvesting, proper storage, and economic aspects. Nine years ago, Zainab was awarded the certificate of a "super farmer" and a "fully trained and certified farmer". Zainab is the mother of eight grown-up sons and daughters and a grandmother to no fewer than 20 grandchildren. She has never stepped into a classroom; hence she cannot read or write. She can, however, speak three languages (two vernacular and one national language). She has been taught the English alphabet, numbers and simple calculations by her grandchildren, whom she has been living with since her husband died in 1994. When her husband died, Zainab's life became hard and complicated. Some of her children were still under her care. Living in a village, there are not many jobs to be had aside from farming. Most of the land is cultivated, and if they are not very well organized, some families tend to suffer from hunger before the harvesting season. Zainab admitted to having experienced some hardships after the loss of her husband. But in 2010, she learned about the One Acre Fund, an organization that helps farmers grow their way out of hunger and build a lasting pathway to prosperity. They trained her in a language she could understand. Without writing or reading skills, she was able to memorize all that she could manage. After some time, she graduated as a trained farmer with a certificate. At a fee that every farmer registered under this fund must pay within a period of 6 months, she can get help and professional guidance during her planting, pruning and harvesting seasons, and also advice on proper storage. In accordance with the regulations and guidelines of the fund, she was always required to store half of her harvest for at least six months and make use of the remainder for consumption or to make money from it, if possible. Maize production was the main focus because ugali a product of maize flour is the staple food in Kenya. As she had been promised when joining One Acre Fund, her produce output increased, and her standard of living increased from the level of mere survival. She became able to harvest enough maize to last her for a full year, for her own consumption and for sale, making money out of it without struggling. At her age, she has taken up a series of other projects that she has been running successfully. This includes tree planting and fish farming. Her main purpose for joining the tree planting project is to help and maintain the ecosystem. The funders of the project give advice on trees to plant and proper ways of caring for them. These trees are later used for making charcoal or sold to people who might be interested in firewood produced without environmental degradation. One project that Zainab is very proud of and actively involved in is fish farming. When it was first introduced, it proved difficult and expensive. Zainab took a free training course, again depending on her power to memorize and practice what she was taught to qualify as a fish farmer. The project was demanding and not many people could keep up. After digging the ponds and introducing the first fishlings farmers were responsible for the maintenance of their own fishponds and for feeding the fish for a period of at least 6 months before the fish could be harvested. Food fed to the fish could be bought from shops but considering that not many villagers can afford to buy it, farmers were taught how to make their own food for the fish, a process that proved very difficult and demanding for many farmers. As a result, after the first harvest of the fish most of them abandoned their ponds and only three farmers, including Zainab, stuck with it. Although it is recommended to harvest the fish every 6 months, Zainab would prefer to harvest her fish only once a year when the fish are fully mature. During harvesting, she could harvest up to 400 large fish and 200 relatively smaller fish that she sold on the market. Primarily, in as much as she makes a profit in her maize farming project, this fish farming project is where she makes most of her money because even after fishing, she could never remove all the fish from her pond, even if she wanted to. They keep on reproducing, and her biggest task is to keep her pond clean and feed the fish until maturity. © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat © Anwar Sadat If optimism were to be defined as a person, then she would best fit the description. Despite all her setbacks, troubles, and illiteracy, Zainab never gave up. She believes that education is good. As a matter of fact, at her age, she loves the idea of reading very much. She always wishes that she had had an opportunity to go to school when she was young. Maybe she could have done more for herself and her family. Nevertheless, she is a proud mother and grandmother who is helping her daughters take care of her grandchildren. view Anwar's portfolio Read an interview with Anwar >>> Read Anwar's story "RESILIENCE" >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

Like a moth to the flame of London's bright, the beautiful and the extraordinary! TRIS Like a moth to the flame of London's bright, the beautiful and the extraordinary! LOCATION London UNITED KINGDOM CAMERA/S Canon EOS 5D Mk IV @COLOURBRICKS FEATURES // Rebels For A Cause Colour Bricks

LIFE THROUGH MY LENS British documentary photographer Jason Shipley finds inspiration in the people he meets and their life struggles. LIFE THROUGH MY LENS August 7, 2020 INTERVIEW PHOTOGRAPHY Jason Shipley INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Jason Shipley is a passionate British documentary photographer from Kingston upon Hull. He finds inspiration in the people he meets and their struggles, which he often documents in long-term series. Jason shared a story with us in the Magazine about British miners and how the miner strikes of the 1980s have affected their lives. His photographs have been featured in such renowned places as the British Museum. Jason's life is filled with photography - full time. We took this opportunity to ask him about it. “I was born in Kingston upon Hull. I grew up here and I’m still living here. It's a working class city built from the deep sea fishing industry. I have been interested in photography since I was 17 (that was in 1987). We had an old 35mm camera that nobody used, I used it the most. My mother had a lot of photos, family portraits mainly. It just appealed to me, catching and saving a moment forever.” IN CONVERSATION WITH JASON SHIPLEY THE PICTORIAL LIST: Jason, where do you find your inspiration to photograph? JASON SHIPLEY: I find it on the street with the people I meet and the struggles people have, it sends me in different directions. TPL: Do you have a favorite genre of photography, and if so, what about it appeals to you? JS: My favourite genre of photography is documentary, mostly social. It’s the gritty essence, but street is my sidekick. TPL: Has your style of photographing changed since you first started? JS: My style has changed a lot, I started in portraiture and flash photography, studio and street. TPL: Do you have a favorite place(s) to photograph? JS: My favourite place to photograph has to be anywhere outdoors. As long as it has humans involved. TPL: Who are your favorite artists? JS: John Bulmer, Don McCullin, Jane Bown, and Raymond Depardon Photography for me is not looking, it's feeling. If you can't feel what you're looking at, then you're never going to get others to feel anything when they look at your pictures. - Don McCullin TPL: How did you think of your long-term documentary project about the miners? JS: I’ve always backed the underdog. I feel the miners deserve recognition for the work and struggles they endured down the mines. Pit life was extremely difficult, as a boy I remember the strikes, on TV, I always would cheer the miners on. After 30 years the miners still check up regularly on each other for health and social related issues, I have never seen such comradeship from any bunch of workers. During the UK lockdown they even called me to see if I was in good health! I'm totally amazed and proud that they thought of me in some ways as part of the team. Editor's note - Read the story 'Comrades Forever' using the links at the end of the interview. TPL: What camera/s do you use? Do you have a preferred lens/focal length? JS: My preference in cameras is Nikon for portraits, street photography Fuji xt3 and 35 mm Nikon F5, for landscape Hasselblad 500cm 120mm. TPL: What characteristics do you think you need to become a good photographer? Any tips or advice for someone just starting out? JS: My honest answer - In photography if you are willing to learn and are a little crazy, and you have an artistic eye, you can learn as much as you want. I believe you constantly learn new techniques throughout your career. I experiment a lot. TPL: Are there any special projects, other than the long-term documentary on British miners, that you are currently working on? JS: I am currently working on a vulnerable youth project, it’s a commission from the youth service. I´m also working on the council estate project in Hull, also a commission. TPL: “When I am not out photographing, I am… JS: When I’m not out doing documentary work I’m usually doing street photography. I’m prolific - I’m out shooting now, I shoot every day, when I’m not out shooting I’m sleeping or in my dark room.” 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.

Born in 1960, Richard Koenig received his BFA from Pratt Institute. In 1998 he received his MFA from Indiana University and began teaching art and photography courses at Kalamazoo College, Michigan. His fine art work, Photographic Prevarications, was shown in six one-person exhibits in as many years (from 2007 to 2012). Koenig's long-term documentary project Contemporary Views Along the First Transcontinental Railroad spawned four articles (between 2014 and 2019). In addition, he published a memoir piece, "Growing Up in a Railroad Vacuum" in Railroad Heritage (in 2017), as well as one on New Mexico's last active semaphores in Railroad History (in 2019). In 2020 Koenig collaborated on a project called Hoosier Lifelines: Environmental and Social Change Along the Monon (1847-2020). A journal article on the history of railroads in Traverse City, Michigan, was published in 2021 (in the Double A) as well as an article on Michigan City street running in the summer of 2022 (Quarterly Newsletter of the R&LHS). RICHARD KOENIG Born in 1960, Richard Koenig received his BFA from Pratt Institute. In 1998 he received his MFA from Indiana University and began teaching art and photography courses at Kalamazoo College, Michigan. His fine art work, Photographic Prevarications, was shown in six one-person exhibits in as many years (from 2007 to 2012). Koenig's long-term documentary project Contemporary Views Along the First Transcontinental Railroad spawned four articles (between 2014 and 2019). In addition, he published a memoir piece, "Growing Up in a Railroad Vacuum" in Railroad Heritage (in 2017), as well as one on New Mexico's last active semaphores in Railroad History (in 2019). In 2020 Koenig collaborated on a project called Hoosier Lifelines: Environmental and Social Change Along the Monon (1847-2020). A journal article on the history of railroads in Traverse City, Michigan, was published in 2021 (in the Double A) as well as an article on Michigan City street running in the summer of 2022 (Quarterly Newsletter of the R&LHS). LOCATION New York UNITED STATES CAMERA/S Nikon D850 WEBSITE http://people.kzoo.edu/~rkoenig/homepage.html @RICHARDKOENIG6644 FEATURES // City As Metaphor

I am a Delhi based street and documentary photographer. I started doing street photography about 1.5 years ago and my main focus is how to make an ordinary picture look extraordinary. I think I learn from people everyday. I learn also from my mentors. I get so much inspiration from so many people. To me one of the basic characteristics of street photography is candidness. I feel that as a street photographer it is my duty to show the candid street. ASHISH PATEL I am a Delhi based street and documentary photographer. I started doing street photography about 1.5 years ago and my main focus is how to make an ordinary picture look extraordinary. I think I learn from people everyday. I learn also from my mentors. I get so much inspiration from so many people. To me one of the basic characteristics of street photography is candidness. I feel that as a street photographer it is my duty to show the candid street. LOCATION Delhi INDIA CAMERA/S Nikon D5600 @KNOWASHISH FEATURES // Unplanned Moments

PICTORIAL STORY BLINDFOLD CHESS In the quiet intensity of blindfolded chess, visually impaired players reveal a powerful blend of memory and strategy — Anastasiya Pentyukhina documents a rare glimpse into a world guided by focus rather than sight. August 30, 2023 PICTORIAL STORY photography ANASTASIYA PENTYUKHINA story MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link If you ever struggled to learn or to keep up with your chess, imagine doing it with your eyes closed. Documentary photographer Anastasiya Pentyukhina has shed light on the unique challenges that visually impaired people face in the world of chess. Born in 1993 in the village of Pokrovo-Prigorodnoye, Tambov Oblast, Anastasiya spent her childhood and received her education in a small town 500 kilometers from Russia's capital. Growing up there has sensitized Anastasiya, making her more understanding and aware of the issues of people who live outside of the political arena, busy attending to their everyday lives. Anastasiya has been living in Moscow since 2015, and her personal projects have sought to address this social inequality and promote inclusivity. In her latest ongoing project, Anastasiya has explored the world of blindfolded chess, which is a practice used by many chess players to increase their skill level without actually seeing the board – a challenge that is taken for granted for the visually impaired. Players must rely on their memory and spatial thinking skills to play the game, which can only be developed through regular practice and solving problems. The chess community is also an invaluable asset for visual impaired players, as it provides the support needed to attend tournaments and competitions. However, these activities are not always supported by government grants, and the organization of tournaments and team management often have to be funded by enthusiasts. Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often-overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players. Through her work, Anastasiya hopes to draw attention to the importance of inclusivity in sports and the need for better support for visually impaired chess players. Anastasiya’s journey into photography began simply, with a smartphone in 2013. Two years later, the gift of her first digital camera sparked a deeper curiosity, drawing her toward the rhythm and pulse of street photography. By 2019, she refined her vision, expanding her understanding of visual storytelling. This path led her to documentary photography, where she sought not only to capture moments but to invite viewers into them. In the following year, Anastasiya embraced the art of photo stories, shaping images into narratives that reveal complexity and depth—an enduring reflection of her commitment to growth and exploration. Chess is an important part of the culture in Russia. it has become part of the fabric of Russian society. The story of Soviet chess begins during the Russian Civil War, when chess was enlisted as a training tool for military recruits to sharpen their critical thinking and hone their strategic skills. Chess has been part of children's curriculum for most Russian schools for more than 40 years. Adolescents were encouraged to play chess at a very early age to increase their problem solving and reasoning skills. The Soviets put vast resources into developing a league of grandmaster champions and a profound chess culture. It was in the summer of 2021, in the city of Klintsy, Bryansk Oblast, on the border with Belarus and Ukraine, that Anastasiya first encountered Blindfold Chess. Unfortunately, due to miscommunication and schedule changes, the competition had already taken place a week before Anastasiya's arrival. Nevertheless, Anastasiya decided to stay and glean as much information as she could about the world of chess for the visually impaired. Anastasiya learned from the head of the All-Russian Society of the Blind in Klintsy, that there were a lot of players and that tournaments were held often. Seizing the opportunity, Anastasiya took a portrait of Nadezhda Vekshina, serving as the starting point for her project. Through her diligent exploration and commitment to her studies she made valuable connections in the Blindfolded Chess community. She found her heroes through authentic conversation, giving her a greater understanding of the world of Blindfolded Chess in Russia. Inspired by her studies and conversations, Anastasiya decided to travel the length and breadth of Russia, interviewing and photographing the players of Blindfolded Chess. She wanted to capture their unique perspectives and document the game from their point of view. Anastasiya was particularly interested in how they perceived the game differently than sighted players and if certain techniques or strategies were employed differently. “I talked with people there and realized that this topic touches me and I wanted to go into more detail. Few people think about the life of the blind community. A lot of my friends were surprised to learn about the existence of chess for the blind. I myself was just as interested. Before that point, I had no experience working with the visually impaired. I read many articles about chess for the blind, but they weren’t comprehensive enough. I mostly got information from my heroes.” The chess players have to rely on their own creativity and inventiveness to make the game more accessible for them. They use their hands to feel the pieces, and they develop a system of verbal descriptions that allow them to communicate the moves they are making. For tournaments, they use specialized board markers. It is a testament to everyone’s ability to adapt and find creative solutions, even when faced with seemingly insurmountable obstacles. During her time with the players, Anastasiya witnessed the profound joy that the game brought them. For many of them, it was a way of life, something that brought them together and helped bridge the gap between sighted and non-sighted people, giving them a valuable sense of community. Anastasiya has gained a deeper understanding and appreciation for the game of Blindfold Chess and for the amazing people who play it. It is a unique experience, one that she will never forget. “As I traveled to different cities in Russia over the weekends, I began photoshoots at the heroes' homes, chess clubs, and workplaces. It was important for me to create a comfortable and familiar atmosphere, so I spent approximately 3-4 hours with each sportsperson. During our time together, I made sure to delicately ask about their biographies and health, and we often talked and joked about different topics.” As Anastasiya documents the lives of the people she meets, she notices that these role models are strong, dedicated, and incredibly brave. She is inspired by their determination, and passion for life despite their visual impairments. She understands that these people want to be recognized for who they are and for what they can do. What Anastasiya has learned is to never give up. They have taught her that even when things seem impossible, there is always a way. Their dedication, strength, and courage will always be a source of inspiration and admiration for Anastasiya. Anastasiya hopes to continue her project and share with others the stories of these remarkable role models. Komissarov Aleksey, FIDE Master (FM). © Anastasiya Pentyukhina Evgeny Suslov told me that he started losing his eyesight in childhood. In order to read books and learn chess on his own, he had to study with a magnifying glass, which greatly reduced the speed of learning but never stopped him. The photo was taken at the children's center in Ivanovo, where he teaches. © Anastasiya Pentyukhina Babarykin Stanislav, FIDE Master (FM), World Champion. © Anastasiya Pentyukhina Smirnov Sergey, two-time World Champion. © Anastasiya Pentyukhina Special Braille chess set is used to play. All the Black squares are raised a couple millimeters above the white ones. Each square has a hole in the center so that the pieces can be fixed in them. © Anastasiya Pentyukhina Vitaly Vertogradov works as an astrophysicist and teaches at Herzen University. Volunteers help him read all the formulas. He is completely blind. The photo was taken at Herzen University in St. Petersburg. © Anastasiya Pentyukhina Kovnerev Sergey, ex-head of The All Russia Association of the Blind in Smolensk, chess competition’s organizer. © Anastasiya Pentyukhina Chigarev Damir, multiple champion of the Uzbek Soviet Socialist Republic. © Anastasiya Pentyukhina Ivanov German, multiple champion of Russia in team tournaments. © Anastasiya Pentyukhina Garanin Danil, chess competition participant. © Anastasiya Pentyukhina Yulia Taranenko worked as a chess teacher at a children's school in Korolyov and had been planning to quit. I captured an important moment for her: the end of her career as a teacher at this school. The photo was taken in the children's chess school Debut in Korolyov. She is a hereditary checkers and chess player. Her mother is also one of the strongest players and a teacher. © Anastasiya Pentyukhina Anastasiya’s Pentyukhina’s journey with Blindfold Chess has been more than a photographic exploration — it has been a quiet unfolding of resilience, ingenuity, and human connection. In documenting this overlooked world, she has not only captured faces and gestures but revealed a deeper truth about the adaptability of the human spirit. Her camera became a tool for listening as much as for seeing, offering space for stories that too often remain untold. These encounters — grounded in care and respect — have reshaped her understanding of strength and possibility. As she continues her work, Anastasiya carries forward the voices of her subjects, inviting others to witness their dignity and the profound ways they navigate the world. view Anastasiya's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

FINDING THE MAGIC OF ISTANBUL Street photographer Emir Sevim finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks his world. FINDING THE MAGIC OF ISTANBUL January 28, 2022 INTERVIEW PHOTOGRAPHY Emir Sevim INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Istanbul is a place like no other, and it is through the eyes of its people that we see its beauty. One of those people is Emir Sevim, an Istanbul native and street photographer whose passion for his city shines through his work. Emir was born and raised in Istanbul, and it was during his university studies that he realized his love for photography. After taking a class in photography, he found himself inspired to explore the streets of Istanbul, and to capture its beauty in ways that only a local could see. Through his lens, he has been able to find the unique details and comparisons that come together to create the magic of Istanbul. In his six years as a street photographer, Emir has developed a unique style of photography that is infused with the energy and rhythm of his city. He captures the essence of Istanbul, creating images full of vibrancy and movement. As any native to a city knows, there is something special about being born in a place – something that cannot be captured by a casual observer. It is in this spirit that Emir captures his city, finding beauty and purpose in its inhabitants and its streets. Emir finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks Emir’s World. His images are a testament to its beauty and its brilliance, a reminder of the unique beat that rocks its streets. “Street photography is my passion. When I go out and take photos, I forget all my other troubles and surrender myself to the flow of the street, to the spirit of the street. Every photograph I take carries pieces of what I watch, read, people's feelings, movements, the rhythm, texture and spirit of the street. I am very lucky to live in Istanbul and take street photos. I hadn't noticed that Istanbul is such a magical city before I took my first photo. When I started to taking pictures, it was while I was getting lost in the streets, I realised how perfect this city really is.” IN CONVERSATION WITH EMIR SEVIM THE PICTORIAL LIST: Emir please tell us about yourself. How did you become interested in photography? EMIR SEVIM: I was born, grew up and live in Istanbul. My interest in photography started during my university years. While I was studying Sinem-TV department in 2011, we had a photography class. I took a camera and started taking photos. It was 5-6 years ago that I started taking street photography. TPL: When you are out photographing - how much of it is instinctual versus planned? ES: I don't make any plans while taking photos. In my understanding of street photography, photography should be natural. When I take a photo, I capture that moment and enjoy it. TPL: What are some tips or advice you would give yourself if you started street photography all over again? ES: I would have liked to have started my photography by taking street photos earlier on. I'm not too late, but sooner would be have been nice. Frankly, I wouldn't give any advice because I'm constantly taking photos and working hard on this. TPL: Do you have any favourite artists and photographers? ES: Lee Friedlander, Henri Cartier-Bresson, Alex Webb, Vivian Maier, Nikos Economopoulos, Josef Koudelka, Raymond Depardon, Bruce Davidson, Joel Meyerowitz. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? ES: I would choose Alex Webb. Because he has an amazing street photography book about my favorite photographer and the city I live in, Istanbul. It would be perfect to take photos with him on the streets of Istanbul. When I take a photo, I capture that moment and enjoy it. 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? ES: I love the equipment I use. Small, practical and fast. It makes my job on the street a lot easier and gives very good results. I don't think you need huge equipment. It is the photographer who takes the photo, not the camera. My equipment is the Fujifilm XT30 18mm f2. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? ES: As a photographer, of course, my goals are to produce something permanent. Making exhibitions, publishing books. I think the best thing a photographer can do is make a photo book. I am working every day to achieve these goals in the coming 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? ES: There are several photo series I am currently working on. Those who are curious can see them on my website. I have an idea to make an exhibition or a book about these series in the future. TPL: "When I am not out photographing, I (like to)… ES: I like spending time with my family, traveling, watching movies, reading books." 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 grew up and spent most of my early life life living in, and photographing around Melbourne, often shooting on the street. My photographs are mostly candid shots reflecting element of everyday life. I also enjoy the occasional seascape, landscape, or art project. These photographs are part of a larger series I am currently working based on the Australian flag. ALAN THEXTON I grew up and spent most of my early life life living in, and photographing around Melbourne, often shooting on the street. My photographs are mostly candid shots reflecting element of everyday life. I also enjoy the occasional seascape, landscape, or art project. These photographs are part of a larger series I am currently working based on the Australian flag. LOCATION Melbourne AUSTRALIA CAMERA/S Fuji X Pro1, Canon EOS R WEBSITE http://www.athexphotographs.com/ @ATHEXPHOTOGRAPHS FEATURES // Ausflag

VOICES OF THE NILE Voices of the Nile by Bastien Massa and Arthur Larie is a project documenting the relationship of Ethiopians with the Blue Nile. VOICES OF THE NILE April 12, 2021 INTERVIEW PHOTOGRAPHY Bastien Massa and Arthur Larie INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Voices of the Nile is a project aiming at raising awareness on the vital importance of the Nile ecosystem by the photographer duo Bastien Massa and Arthur Larie. The two have been doing joint photo projects for many years. Working photo journalistically, they have been traveling through Ethiopia, where they spent four months at the source of the Blue Nile to do a series about Ethiopians and their relation with water. “We left France four months ago and will still be travelling for another four months in the Sudan and in Egypt. In the Sudan, we want to focus on the practical impacts of seasonal flooding and the cultural perceptions of the population. We also want to realise a series about the communities who worship the Nile river and gather their stories. Environmental issues are also central to our work all along the Nile river.” IN CONVERSATION WITH BASTIEN MASSA & ARTHUR LARIE THE PICTORIAL LIST: Bastien and Arthur please tell us about yourselves. How did you both become interested in photography? BASTIEN MASSA & ARTHUR LARIE: We are two young French photographers (Bastien and Arthur) working on a project along the Nile River. We have previously spent four months in Ethiopia at the source of the Blue Nile and we now have just left for Sudan and then onto Egypt following the flow of the river. We come from two parts of France, Arthur is from Corsica and Bastien is from Paris. We both met during our time of studies in Aix-en-Provence. In our project, we try to embrace research, journalism, and photography. Photography is a medium to reach the diversity of humankind, it is an excuse to reach unknown worlds. Possibilities are infinite, you can spend time with fishing communities of the Nile in the Sudan and work with artist performers in Paris, these reasons might explain our interest in photography. TPL: You have shared with us a series you call A KIND OF BLUE NILE from Ethiopia. How did you come up with that title? Tell us a bit about what appears to be a kind of religious festival. BM & AL: We have spent four months in Bahir Dar at the source of the Blue Nile, one of the tributaries of the main Nile. At Khartoum, the White Nile coming from Lake Victoria and the Blue Nile coming from Lake Tana in Ethiopia merge to flow towards Sudan and Egypt. This title is a reference to the iconic jazz album from Miles Davis. In addition to the direct reference to water and the Blue Nile, for this album, Miles Davis gave little indication to his musicians, just a general idea, and asked them to improvise on it. We did - at our own level - the same, we had the Nile and water as a guiding thread, and if we had more information than Davis’ musicians, we still tried to improvise some variations around this theme. We wanted to do a series about Ethiopians and their relationship with water at the source of the Blue Nile. How it affects their practical life but also the cultural and spiritual dimension of water. At the end of January, in the city of Gondar (the north-eastern part of the country), Christian Orthodox people celebrate Timkat, which represents the epiphany and the baptism of Christ. In Gondar, around 500,000 pilgrims from all over the region gather inside Fasiladas bath, named after one of the 17th Abyssinian kings. There, a basin is filled with water for the ceremony and after a night of prayer, the pilgrims, mostly men, enter the bath to get blessed by the holy water. You can definitely see in the picture a special connection between Ethiopians and water. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? BM & AL: When you start photography you want to capture everything, especially while travelling. But in a world of images, it is really important to focus on what kind of story you want to tell, how you can deliver a new vision of a subject that everybody knows. Thus we try to look for the margin, if you take the Blue Nile falls in Ethiopia it is hard to create something new, all tourists, photographers have already taken millions of pictures of this place. So we tried not to capture the falls and instead we decided to follow the people coming back from the market to their homes. We were walking with them on the banks of the river and we could see how they live, close to one of the most touristy places of Ethiopia. There are no particular elements that we try to include in our photographs, it is more about what you see and what you feel in a given moment. Sometimes you are on the move in the streets and you just have to stay aware of everything: lights, objects, colours, and people, because it goes so fast. But at some point you just experience a moment and have some time to find the perfect frame where you include all the elements you need, playing with lights and movements. Out of gallery TPL: How do people along the Nile react when you take their photo? Are they friendly about it? BM & AL: In Ethiopia, people have mixed reactions. Some are reluctant to have pictures taken of them and many will ask you for money. Cameras are not well accepted everywhere and we met some people asking "for what purpose". This is understandable regarding the fact that photography is held accountable for the past negative image of the country among the rest of the world. But this happens only when you take pictures without creating a connection. But you know, the reactions are as diverse as the people, some are shy, some are extrovert, some are suspicious, some are proud. And hopefully, we don’t all have the same reactions to a given situation. Another point is that, as our stories need time, we spend some with people before taking pictures of them. We don't arrive with our cameras out. You have to create a dialogue, explain why are you here, and establish trust. If you break the ice, how they perceive your camera will somehow change, which is once again totally understandable. TPL: Where do you both find your inspiration? Do you have a favorite place/s to photograph? BM & AL: Our environment is of course a huge source of inspiration, but this inspiration is almost instantaneous. So we may say that looking at other photographers' work and discussions with them accounts for a big part of our inspiration. We pay special attention to their composition and how they apprehend light and movement and their perception of their subjects. When you do photo reportage, the research part is also really important. Getting to know where you go, what the main challenges are and how other photographers have already talked about the topic you want to cover is important to create something different but still reliable. We love to take pictures in markets or city centres. In Ethiopia, most of the cities are evolving fast and those places are in translation. In Bahir Dar, the municipality decided to transfer the old shops and sellers to new buildings. This adaptation is photogenic. A market is not a place where everything is clean and organized. In those places, some physical concepts do not apply, like gravity. Stacks of fruits or goods are challenging those principles. And life is not aseptic: it's smelly, noisy, and crowded refusing a kind of uniformization. We also love decadent places: places with a glorious past, that were once state-of-the-art and are now neglected. Not abandoned, if we take the example of this old hotel in the northern part of the lake. It was a modern lakeside hotel, constructed under the socialist regime of the Derg. It has now lost this fancy aspect but you still can feel what its golden age was. Photography is a medium to reach the diversity of humankind. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BM & AL: Both Joseph Kessel and Nicolas Bouvier have fed our desire to travel and report the stories of people. Then there are two photographers that we refer to when it comes to inspiration: Sebastiao Salgado and our friend Eduardo Soteras Jalil. Sebastiao Salgado succeeds in creating a new perception of the world's complexities especially when it comes to conflict, his work is at the borderline between art and journalism. Eduardo Soteras is a photojournalist covering the current war in Tigray, Ethiopia. We met him at the beginning of the conflict at a time when we were just starting out in photography. Since then we have been following his work, which has had a great influence on how we perceive photography. He plays with light and composition and makes you feel that he is always at the right place at the right time. TPL: Would you say you are documentary photographers? How do people react to you? BM & AL: We are trying, but in the meantime, photography is so vast that we want to experience other styles that would improve our perception when we do documentaries. We always ask ourselves if in documentary photography everything has to be natural, just capturing the moment, with no more intervention than the way you compose the image and we are learning every day. Reactions are different, and it depends on which communities you try to document. Usually, people are friendly when you go out with your camera, but still, we try to ask for permission when we can or form a relationship with the subject. When people have negative reactions we try to explain what we are doing, to show them the picture, explain who we are, just to make them more comfortable. Once, in India, we got hit by a group of women, so you also have to deal with these reactions. 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? BM & AL: We would say both. For some specific projects, when we know what we want to document, we try to get information. If we do a reportage on fishermen along the Nile, we need some information regarding their culture and we try to meet them several times to have a better understanding of what we want to shoot. But being prepared does not mean being hermetic to the unexpected. On the other hand, when we travel or just walk around with our camera we don’t plan what we will shoot but our mind is focused on the environment that surrounds us. Out of gallery 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? BM & AL: Our equipment was chosen by our project. We needed something practical and resistant to travel with for 8 months. We were going to countries where you face high temperatures in the Sudanese and Egyptian desert, and sometimes heavy rains in the Ethiopian highlands. It needed to be ‘tropicalised’, waterproof. We had to choose a quality camera but also did not want to look too professional or journalistic. We have a Lumix G-90, which offers a good compromise between photography and also video making. You can always choose better equipment, spend more money, improve your lens but this camera is a loyal ally. To compensate for some technical aspects you need to work on composition, light, timing, which is also really thrilling. We use a 12-35mm lens, many photographers prefer a fixed focal length, we agree with them except that there are situations where you can't just come closer or go further away for your ideal composition. There, the zoom is welcome. TPL: Are there any other special photo projects you are currently working on that you would like to let everyone know about? What are some of your goals as a photographer? Where do you hope to see yourself in five years? BM & AL: Our current project depicts how people at the source of the Blue Nile are connected to water and the river. But our final goal is to render a broader picture of the people of the Nile (Ethiopia, Sudan and Egypt). This work will be a comparison, a kind of tryptic, but also a way to connect people around a shared river in the context of regional tensions. We hope to exhibit our final work in those three countries and create dialogue through them. We were inspired by photojournalism and photo reportage. We love to tell stories through photographs. The idea is to use images as a complement to texts and stories. You first need a story, a context, and a caption. Images are there to illustrate this story, it does not replace it. Pictures can help to convey a message, through emotions and sensations. Our mission is achieved when someone remembers one story by remembering one specific picture. We hope to keep telling stories through pictures. TPL: "When we are not out photographing, we (like to)… BM & AL: Think about all the amazing reportages we could do. Every day we encounter people, ideas or situations and we are thinking we could spend one month just staying there and reporting their stories. We wish we could slow down the time in our fast societies, but we also know it is up to each of us to do something for it. Sometimes just be a spectator, we sit in the streets, take a traditional Ethiopian coffee and wait. Usually, people are curious and come to talk to us. As they penetrate your reality, they become the strangers and you are the landscape." PORTFOLIO YOUTUBE CHANNEL 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. Out of gallery

HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. HUMAN CONTACT June 16, 2023 INTERVIEW PHOTOGRAPHY Jan Ponnet INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Street photography for Jan Ponnet is an exciting form of photography where he can capture the spontaneous moments of everyday life on the street. Born in Antwerp, Belgium and now living 15km from the city in Sint-Katelijne-Waver, Jan trained as an engineer and had his own business in the central heating industry. Since his retirement, Jan has picked up the thread of photography full-time again. “My passion for photography lies in the street. It is challenging because it often involves observing and looking for something interesting in an ordinary place. It involves also photographing unknown people in public spaces, without asking their permission. When people say no, it is important to respect their decision and not be intrusive. Although most people say they don't want to be photographed, only an extremely small number confirmed this to me - the vast majority quietly allowed me to do it in a way that says: look at me!” Jan is a street photographer who wants to “look for the snapshots that try to portray a positive mood, a smile, a tender moment or just the image at the right moment.” By walking through the streets and observing people's behaviours, Jan tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. “I was about 20 years old when, before the digital age, I watched images appear in the darkroom, in the developing pool. Turning a moment, a flash, into a lasting image grabbed me and I still have that feeling. The play of light and human contact brought me to the streets.” IN CONVERSATION WITH JAN PONNET THE PICTORIAL LIST: Hello Jan…welcome to The List! Let's start by telling us something about yourself. JAN PONNET: I was born and raised in Antwerp. With an engineering degree and experience in some big companies, I started my own central heating business. When it turned out that none of my children would continue the business, I sold everything. Around age 60, I then found the time to photograph more. Now it is an out-of-control passion. TPL: Could you tell us what growing up in Antwerp has inspired in your work? What special qualities unique to this city influence your street photography and the way you portray your community? JP: Antwerp is one, by Belgian standards, of the bigger cities—a port city with a multicultural and generally accessible population. However, I don't think Antwerp has anything specific photographically. I think I can photograph in any city. you just have to look, see, feel... TPL: What first attracts you in the moment, movement, light, color, or texture? Or do people and their personalities play an important role in how you portray them? JP: When portraying a city, I first look for a suitable background. Then I just wait for someone to pass by. Like love at first sight, I pick out someone who I think will do well. After a brief introduction, most of my actors are willing to be portrayed. So far, I have rarely been wrong. TPL: Where do you find your inspiration to create? JP: Outside exhibitions and books, there is so much to follow on the internet these days to broaden your horizons. TPL: Does having a spontaneous approach to your street photography allow for the serendipity at the moment to dictate the frame? JP: Of course, you need some luck to capture a decisive moment. But I believe in the fact that this is also a matter of practice. The more practice, the more you see, and feel the moment coming to dive into the scene. With many people, I have a nice chat before or after photographing and that gives me great satisfaction. TPL: What was one of your favorite moments photographing in the street? Where was it? And why? What are some of the challenges that you have faced out photographing on the street? JP: One of those favorite moments are parades, manifestations, processions. These are the favoured circumstances for me to focus not on the subject of the day but on the bystanders. The challenge is not to contravene privacy rules. So always be friendly and accommodating because of privacy states. You cannot get a good expression on demand, you have to shoot this directly. With a little chat afterwards is usually OK. If not, the customer gets his way! But always be friendly and accommodating. TPL: Do you have favorite locations you like to point and shoot, or do you prefer the challenge or inspiration of new locations? JP: I don't feel tied to certain locations. It's always fun to explore new surroundings. The reason why can be very different…look, a smile, clothing, a silhouette, a pose. As long as there is someone around, and preferably with whom we can make contact. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? JP:There are of course the classics, for example, Henri Cartier-Bresson, Vivian Maier, Fan Ho, and Capa because very frequently I ask myself: was I close enough to it? On social media I follow inspiring photographers such as Alan Schaller, Paul Reid, and Chris Mozyro. 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? JP: I started with one of the first Minolta reflex cameras. I'm not going to be flippant about equipment and whine about its unimportance. Currently, I walk around with a Leica 10M, simple, small, and handy. When I want to dive into the scene and frame it into a fascinating environment, I take a 28mm. Portraits I do on the street usually with a 50mm TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals for the next 3-5 years? JP: I do walk around with some ideas. In recent years, I've been staying in different cities for several months. The best way to be immersed in the city and its population. So follow me. TPL: “When I am not out photographing, I (like to)... JP: I like traveling and visiting cultural places and museums. My passion naturally involves a lot of walking, which I hope is good for my health…haha. In the evening I like to play Bridge the card game.” 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.