SINGAPORE SCENES Xiangyi's minimalistic photography conveys a sense of mystery, illustrating how tiny we are in comparison to the universe. SINGAPORE SCENES June 22, 2020 INTERVIEW PHOTOGRAPHY Chen Xiangyi INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link As the world continues to rapidly evolve and transform, it's hard to keep up with all the changes happening around us. But one Singaporean street photographer, Chen Xiangyi, has made it his mission to document these changes and immortalize them in his minimalist photographs. Self-taught and inspired by the ever-evolving nature of street photography, Xiangyi has developed a unique style that captures the beauty of his environment and the people within it. His works often feature mysterious scenes where the human subject may not be the main focus, but they still contribute to the composition nonetheless. It's an intriguing style that speaks to the smallness of mankind in comparison to the vast universe around us. In this article we will explore Xiangyi's fascinating photography, as well as his motivations and aspirations as an artist. “Sometimes taking a step back, we see that the universe is so much bigger and we are only mere specks in it.” IN CONVERSATION WITH CHEN XIANGYI THE PICTORIAL LIST: Xiangyi, when did you start getting interested in photography? CHEN XIANGYI: I started around twelve years of age. I received a point and shoot as a gift. I started taking casual photos of friends and family. During vacations, I also took photos of the scenery and macro shots of food and flowers. I think I got myself hooked, buying books and going online to watch video tutorials about camera settings and shooting techniques. Later on, I joined Instagram and saw many different beautiful pictures. This sparked my interest further as I tried imitating their styles. TPL: Where do you find your inspiration? CX: I started getting my inspiration initially from YouTube street photography tutorials. Later, as I created my Instagram page, I followed many Instagram accounts that showcased works of other street photographers. The scenes that are on the street, backgrounds and different lighting inspire me and gives me the inspiration to make the photos. TPL: Who are your favourite artists/photographers? CX: I think Evan Ranft and Sean Tucker are the first few YouTube photographers who influenced my style, I have learnt a lot from their tutorials and really got motivated by them. Eric Kim, Eduardo Pavez Goye and King Jvpes's POV videos of them doing street photography has also inspired me to get out there and shoot more. Street photographers and feature pages on Instagram also has influenced my work providing inspiration as well as a different perspective to look at light, subjects and the scene. TPL: Has your style of shooting changed since you first started? CX: When I started, it was more of a casual shooting anything and everything. I dabbled with studio a bit but after graduating high school, I did not have access to a studio anymore. I guess street photography called out to me, as Singapore is a tiny city that is always bustling with life. The streets are always changing and always have interesting characters. There are always stories unfolding waiting for me to uncover. TPL: Where is your favourite place to shoot? CX: I don't really have a favourite place. I enjoy shooting different places. In Singapore, my favourite few places include Chinatown and Central business district. These are places always teeming with live and always full of energy. However, I also enjoy the occasional walk around the neighborhood with my camera. Although quieter, it provides a new environment that keeps things interesting. Recently, on my overseas trips, I found just walking in an unfamiliar place can be inspiring as everything looks intriguing. The scenes that are on the street, backgrounds and different lighting inspire me and gives me the inspiration to make the photos. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? CX: I agree strongly with the quote "the best camera is the one on you". Equipment in this day and age shouldn't be what is stopping you from creating images. Even phones are able to make stunning images. I also believe that it’s the vision of the creator of the picture that makes it unique and amazing and not the gear. I guess just go and get your gear out and just go shoot! Don't be afraid even if you don't get many keepers, just keep on shooting! TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? CX: I would think someone who is attentive to details or just observant in general. There are always a lot happening on the streets and it is up to us to spot the interesting story that is unfolding. I guess just shoot first chimp later. If you think something is interesting or aesthetically pleasing, just snap a photo of it first! TPL: Have you ever been involved in the artistic world before photography? CX: I was in the school's orchestra but that's about it. I can’t really draw or paint, so I guess not much involvement. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CX: I have just started doing photography seriously as a hobby. I would hope to be able to make something out of it some day! I currently have an Instagram page which I try to post regularly. I also put up some of my work on lens2print. Maybe in the future a website or maybe a zine or two! TPL: “If I wasn't photographing what would I be doing?... CX: I really don’t know. I got hooked on photography and had been doing it for 10 years already. I really can't imagine anything else getting me hooked for that long!” It serves as a reminder of how tiny we are in comparison to the universe through Xiangyi's minimalist photography. Please follow his journey on Instagram. VIEW XIANGYI'S PORTFOLIO Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

THE SPIRIT OF A PLACE Ulka Chauhan is somewhat of a wanderer. Always on the go to wherever personal and photography travel takes her, capturing the essence of each place. THE SPIRIT OF A PLACE January 15, 2021 INTERVIEW PHOTOGRAPHY Ulka Chauhan INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Indian photographer Ulka Chauhan is somewhat of a wanderer. Always on the go to wherever personal and photography travel takes her. Her love for the medium began in the 80s when her dad gifted her a red Olympus camera. Having rediscovered her love for photography, Ulka has travelled to various cities and villages in India to capture the spirit of each place. But instead, has been captured by the intensity of the people. Her work has been exhibited at the Meraki exhibition held at the Nine Fish Art Gallery in Mumbai in 2019. In the current pandemic times, her explorations are of candid moments on the streets of Mumbai, London and Zurich. “Through my street work, I hope to inspire people to see the extraordinary in all the ordinary moments that take place in our backyards. And through my documentary work, I hope to spark conversations about topics that interest me. I like the human element in my work. Sometimes it is the silhouette of a person. But more often than that, I like to get close to my subjects and try to capture their expressions and emotions.” IN CONVERSATION WITH ULKA CHAUHAN THE PICTORIAL LIST: Ulka, please tell us about yourself. How did you become interested in photography? ULKA CHAUHAN: Originally from India, I have lived in Bombay, Boston, New York, Cape Town and Zurich; and currently divide my time between Bombay and Zurich. My love for photography began in the early 80s when my dad gifted me a red Olympus camera. I was down with chickenpox and was in home quarantine, but I enthusiastically photographed everything in sight. Since then, a camera has been my constant companion over the years. But about a year and half ago, I had a turning point when I went on a photo tour to Masai Mara. It was there in the vast open plains of Africa that I got bitten by the photography bug. I love photography because it has helped me find my voice. It has been a refuge for me during difficult times and a safe space to explore a multitude of emotions of motherhood, conflict, hope, love, isolation, and resilience. TPL: Where do you find your inspiration? UC: Apart from the inspiration I find online, I love looking at photo books. I have a small but growing collection of them. I also love connecting with the photography community. I get a lot of ideas from speaking with my peers and mentors. I am also fascinated by the art world. I love going to galleries and museums so that to me is a tremendous source of inspiration. My other source of inspiration is closer to home, my mother and my two daughters. They are not only my biggest fans but also my toughest critics. I learn a lot from their honest and unfiltered feedback. TPL: Do you have a favourite place to photograph? UC: I love being able to shoot in both India and Switzerland. Both these contrasting worlds - one of chaos, the other of calm - keep me motivated and inspired. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? UC: I started out loving Ansel Adams’ landscapes and Steve McCurry’s travel portraits. Then David Yarrow for wildlife and now Vivian Maier and Alex Webb, amongst many others for street photography. Two master Indian photographers whose work I look up to - Raghu Rai, who was a protégé of Henri Cartier Bresson. And Dayanita Singh whose work is in the permanent collection of Tate in London and MoMa in NY. Two master Swiss photographers whose work I absolutely admire are René Groebli and René Burri. Apart from the masters, I also look at contemporary photographers for ideas and inspiration. In the art world, I love the surrealism of Salvador Dali, realism of Edward Hopper and the pop art of Andy Warhol. 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? UC: Yes I strongly believe that equipment plays a big role in your overall photography experience. I’ve always had an emotional connect with the Leica brand because my dad was a huge Leica fan and I came to acquire his last Leica camera. More recently, I bought the M10R. I use a 35mm and 28mm lens. This rangefinder system has changed the way I photograph. Being a completely manual system, it really forces me to slow down and shoot more mindfully, which I enjoy. I also really like the sense of community amongst the Leica photographers. All the Leica photographers I have connected with so far have been very friendly and supportive. The lens looks out to the world…it also looks within you. The photos I take are a reflection of who I am. TPL: What happens when you walk the streets with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? UC: When I’m out on the streets capturing candid moments, or even when I’m shooting environmental portraits, I sometimes come across people who do not want to be photographed. In this case, I try to explain the purpose of what I’m doing and I respect their wishes. But these negative reactions are seldom…I don’t take them personally and also don’t let it discourage me from photographing. TPL: Have you ever been involved in the artistic world before photography? UC: I worked in advertising on Madison Ave, NY. I was in the client management side of things and was the point of communication between the client and the art directors and rest of the creative team for the accounts that I worked on. I feel this has played a big role in developing my sense of aesthetic. TPL: You have a photo series on domestic workers in India, from which we have included a few photos here. Could you tell us how you came up with that idea? UC: My domestic workers series titled 'The Real Homemakers' is an ongoing project which evolved from a desire to document the inner workings of households in urban India. There are a lot of books, TV Series and Films about domestic help in the Edwardian Era in the UK and the Segregation Era in the US. While this system has diminished in most countries over the century, it survives and thrives in India even today. India’s affluent and middle class households are equipped with full-time staff and/or part-time help that keep the homes functioning like hotels. They perform a range of services from childcare, cooking, serving, dishwashing, cleaning, laundry, driving, gardening and guarding. They play such an integral role in the homes - they are in fact the real homemakers. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? UC: I hope to continually evolve as a photographer and to create work that is meaningful and touches others. I would like to reach others through publications and exhibitions. My dream is to publish a photo book of my work over time. I am also very fascinated by short documentary videos that have a combination of still and moving images as a medium for storytelling; and I am currently in the process of learning the basics of filmmaking. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? UC: I have an idea for a documentary project in Zurich which is still in the initial phase of conception. I’m currently working under the guidance of a Swiss reportage photographer to develop that further. I also have two documentary project ideas that I’m exploring with a Lisbon-London based photographer. TPL: When I am not out photographing, I (like to)… UC: I love going to galleries and museums. I love going to restaurants, cafes and bars. I love spending time with family and friends. I also enjoy connecting with other photographers. Ulka Chauhan's work is an inspiring example of how the power of photography can capture moments and stories that would otherwise go unnoticed. Through her travels around India, London, and Zurich, she has been able to freeze time and give life to her photographs. We can learn from her in terms of expressing our own stories and perspectives in our photography. VIEW ULKA'S PORTFOLIO Read MYSTIC VOYAGE >>> Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

CALL AND RESPONSE Three women have found a symbiotic relationship, creating pictorial conversations through the device of triptychs. CALL AND RESPONSE March 17, 2023 INTERVIEW PHOTOGRAPHY Emily Passino, Vin Sharma and Lisa Jayce INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Can three women at different stages in life from different cultural backgrounds create cohesive visual conversations, each contributing prompts which the others build upon? Can this process forge pathways forward personally and more broadly? While The Blue Hour Photo Collaborative — created with a nod to improvisational jazz and wide-open possibilities — is only two years old, their collaboration feels far older, deeper. The women of The Blue Hour met in the Close to Home Photo Salon in the height of the pandemic, a period which proved to be both transitional and transformative for them. After admiring each other’s work and thoughts in that virtual community, they recognized they felt a kinship, a shared interest in examining time — seasons, transitions, hours of the day, memory, the arc of life — which they wanted to explore artistically. Their body of work CALL AND RESPONSE creates pictorial conversations through the device of triptychs. Each triptych includes one photograph from each photographer and is not complete until all three agree the story has been discovered. The project stems from the calls these women hear within and around — the human cries to be seen and heard, lost and found, and ultimately to be connected with one another. Whether linked by subject, compositional elements, or mysterious impulses, each visual exchange is intended to evoke an idea — an emotion — to create a melody of sorts that is more than each photo itself might call to mind. “… a single photograph, it’s provocative, it’s an idea, but if you can do two or three, maybe you make that a phrase, and if you can do it in ten, maybe it’s a sentence …. Relations among photographs constitute a visual grammar or a musical piece … like an essay ….” - Dorothea Lange “This is the power of gathering: it inspires us, delightfully, to be more hopeful, more joyful, more thoughtful: in a word, more alive.” - Alice Water IN CONVERSATION WITH THE BLUE HOUR PHOTO COLLABORATIVE THE PICTORIAL LIST: Welcome to The List! Please tell us about yourselves and the full story behind the project? What was the inspiration? BLUE HOUR: As Blue Hour photographers, we bring a range of experiences and practices to this group endeavor. Lisa Jayce, based in New York City, makes images exploring what feels unresolved within her heart and mind, the lives of others, and the natural world. Emily Passino, based in Nashville, Tennessee, considers the nature of contemporary culture primarily through shooting social landscapes. And Vin Sharma, based in Brooklyn, NY, explores the connectivity of our intimate lives, visually displaying our effect on each other and the world around us. Not only has The Blue Hour become a source of creativity for us, but it has also forged a friendship grounded in our shared love of photography, imagination, and expression. We continually draw energy from our dialogues about the relationships between images and look forward, as Vin says, towards “tumbling gently” into 2023 to see where this all may lead. Our Blue Hour collaboration began in 2021; we were all feeling restless and decided to unite for a small, undefined, long-distance creative project. During our first marathon Zoom session, we discussed the pandemic’s influence on daily rhythms, how amorphous time had become, and how it felt as if we were living in a worldwide liminal space. Building upon these ideas, we noted we were at different points in the bend of life, wondering how that, too, affected the sense of who we were. We agreed we could use our photographs to delve into these concepts. Familiar with virtual ways to keep in touch, we began with a small exercise and built three separate triptychs, starting with a prompt photo from each one of us that might have some connection with time. The process itself was astonishingly gratifying! And just as we were experiencing the synergy of collaborative creation, SHOTS Magazine released a Call for Entry with the theme, “Collaboration.” It seemed a sign straight from the universe: we were meant to be doing this! As The Blue Hour, we continued to build triptychs, submitted a few, had four selected – and proceeded to make more. We also came to realize that the number THREE itself has a spiritual, religious aspect to it in virtually every culture, which we began to sense ourselves. It is not an exaggeration to say that the project feeds our souls. There is the inventive aspect, but also the connections between ideas, feelings, and people. So what we thought of as a short-term exercise has grown into a commitment to continue exploring the process and ideas together. TPL: How did you each get your start in photography? BH: Vin has always been drawn to the visual arts. Initially she studied Architecture and had a 35mm Canon as a teenager for her family trips back to India. Finally in her 40s, Vin went back to her first love of photography and began to take it more seriously. Emily has been interested in photography since working with her father in his darkroom while growing up, but it wasn’t until her 60s when she first learned about street photography that she began being more deliberate about image making—learning from local photographers, visiting galleries and museums, and studying and exploring. Lisa had no childhood camera but has appreciated the arts and creativity for as long as she can recall. It was actually the pandemic that brought her to photography—at a friend’s suggestion, she began using her iPhone’s camera while walking as meditation, and that got her hooked. Hungry to learn more, she read up on composition, feel, and tone and studied photographs, experiencing a breakthrough emotionally—now flourishing, rather than languishing. TPL: Talk to us about your individual photography practices and how they are the same or different from what you do together? BH: In many ways, our individual practices are different from the work we do together, though the processes are definitely linked. When working alone, our approach boils down to shooting what catches our eye or heart — following our curiosity — then selecting and processing the photos in our own style, telling our own personal stories. As individuals, we have more focus and a longer thread of a story, or so it seems at this point. By contrast, the collaborative work includes a wider range of possibilities and feels like a looser, more open-ended form of discovery. The magic comes when we start our “call and response” Blue Hour sessions. In music, when a musician offers a phrase and another musician answers — perhaps with a question themselves — there can be a kind of musical conversation moving the song along in ways that can be unexpected and purely satisfying. We experience a similar delight when developing these visual sentences, these triptychs. The heart of our pleasure is bringing photos we have created individually (recent as well as archived ones), and together, finding those that work in concert. During our triptych-making process, at times, the response photos have led to entirely different sequences. Often the initial image has wound up in the middle or at the end of the arrangement. We’re convinced that the “naming” of the triptychs helps us see what they are about. All of this is instructive. Our work together has felt like a gift, schooling us again and again in uncertainty, which of course is easier to reflect on than to live through. Over time, we have learned to honor the process we call “creative limbo” in which we try not to despair if we cannot find an immediate response to one another’s photos. Instead, we attempt to lean in and open further, waiting for a message to reveal itself. We would each say that the Blue Hour process has affected our own individual processes so that we now slow down with our own work a bit more – there is more trusting, feeling, and watching to see what potentials lie there too. 'Festive Remains' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Welcome To America' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Stay A While' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'In Repose' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Nature of Reconciliation' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Network of Life' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Open Invitation' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Truth In Light' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Interlude' © The Blue Hour Photo Collaborative >>> click on image to enlarge TPL: What is it that you love most about your collaboration? BH: Let’s start with our similar sensibility, which comes alive during and between meetings. Beyond our photos, we share recent readings — books, poems, and articles — exhibits we’ve seen, music we’re listening to, and morsels of goodness we’ve encountered in the world, all of which raise our collective spirits. It is these exchanges that prime us for linking various images and seeing new pathways of thought as we reimagine how our own work fits into a larger whole. Through experimentation, we discover how our individual images might connect beyond subject matter—perhaps by shape, lines, mood, tempo, light. Often, a photo’s “meaning” or identity can shift, assuming beautiful new forms when placed in combination with other photos. As for the technical side, we have each grown through the process as well, picking up new approaches for harmonizing color, cropping, and playing with different aspect ratios. Most refreshing are the dynamics at play within our creative process — fluidity and trust, openness, deep listening, and mindfulness of the other come to mind—attitudes which feel sadly absent in today’s polarized climate. As Blue Hour members, we strive for consensus and honest communication when making decisions about images to include and sequences—consensus in the Quakerly sense, which doesn’t mean “unanimous” so much as it means if two of us feel something is “right,” our third partner can either go along, or dive deeper until there’s a mutual understanding. If none emerges, we take time or agree to place images in “future pools,” paused but not forgotten. TPL: Do you have any favorite artists or photographers you would like to share with us and the reason for their significance? BH: Pardon our long list, but the following photographers are all essential to mention: Sally Mann, Cig Harvey, Dayanita Singh, Doug Beasley, Vivian Maier, Sandra Cattaneo Adorno, Rebecca Norris Webb, and Graciela Iturbide! Each of these visual artists, in their own manner, examines the emotional aspects of people and places, creating highly evocative images, which we admire. The photos we tend to favor include explicit and implied narratives — elements that appeal to our interest in storytelling — attention to the details of everyday existence, and an interplay between the magic and realities of life. We are so thankful to have met one another and for the ever-expanding insights that have resulted. TPL: If you could just choose one photographer to shoot alongside for a day, who would you choose? And why? BH: We can’t identify any specific person but certainly someone open to thoughtful conversations about images. While at this point, we each prefer photographing on our own — following our own vision and going at our own pace—we would be honored and humbled to sit alongside any of the above photographers, perhaps in a workshop to raise questions and receive feedback. TPL: What cameras do you each use now? Does the equipment you use help you in achieving your vision in your photography? Vin – Canon R-5; Lisa - Fujifilm X100F; Emily - Fujifilm XE2S. These are our primary cameras, though we also each use our iPhones and have other cameras we may pull out. It’s entirely possible that these cameras help us achieve our vision, but none of us is particularly tech-oriented. 'Disclosure' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Sweet Acceptance' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'After The Rain' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Coming and Going' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Lushness' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Openings' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'Colours Of The Not Yet' © The Blue Hour Photography Collaborative >>> click on image to enlarge 'World On Fire' © The Blue Hour Photography Collaborative >>> click on image to enlarge What are some of your goals as a photography collaboration? Where do you hope to see the Blue Hour in five years? We do have one concrete goal — to take our triptychs on the road and engage with others who are working in groups or who might be sympathetic to the process. We’d love to exchange ideas about the many ways to approach collaboration and to keep learning! In general, despite the tired phrasing, it is the journey we are most invested in. Our biggest hope is that our collaboration evolves on its own in ways that continue to feel positive and nurturing. Perhaps most profoundly, our collaboration has allowed us to see the power of listening and its potential for promise through precarity and peril as we navigate life on planet Earth. Thus in five years we want to have explored further ways to collaborate, to share with others what we are learning, and to continue supporting our own individual and collective journeys. The Blue Hour Collaborative has given The Pictorial List a unique opportunity to see how a group of artists can come together to form one body and mind to create a cohesive body of work. Lisa Jayce, Emily Passino, and Vin Sharma have found a symbiotic relationship, collectively creating a beautiful series of triptychs. Each photographer remains anonymous in the finished triptych, creating a powerful bond and unified finished work. We are grateful for The Blue Hour Collaborative’s perspective and thank them for sharing their inspiring photography with us. Follow them on and watch their project as it develops. VIEW BLUE HOUR'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

INNER ANCESTRAL TRAVEL Maurizio Pichi digs into things and situations photographing the archetypes of the original forms and emotions from which everything starts. INNER ANCESTRAL TRAVEL February 1, 2021 INTERVIEW PHOTOGRAPHY Maurizio Pichi INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Since childhood, Maurizio Pichi has been passionate about photography and has explored many techniques, striving to capture the beauty of small forgotten moments and facial expressions in his images. With his latest project, INNER ANCESTRAL TRAVEL, Maurizio seeks to combine his physical journey through the woods with a journey inward, merging the two into one single narrative. Through his collection of photographs, Maurizio hopes to document the 'archetypes', the original emotions and forms from which all things originate. By taking this journey of exploration and discovery, Maurizio seeks to create a deeply meaningful and powerful photographic series. “I consider 'Inner Ancestral Travel' as a mature project, intended as an important step in a personal journey. Digging inside and digging into things and situations, I realized that basically there are the "archetypes", the original forms and emotions, from which everything starts. I tried to combine my sensations and the search for forms, merging the physical journey into the woods and the journey within myself, trying to obtain a single narrative through images.” IN CONVERSATION WITH MAURIZIO PICHI THE PICTORIAL LIST: Maurizio please tell us about yourself. How did you become interested in photography? MAURIZIO PICHI: I was born in Arezzo in Tuscany, where I currently live. I owe the “responsibility” of my passion for photography to my grandmother. She was a curious and brilliant woman, she loved to photograph with her Voigtlander 6x6 and later with a 35mm fixed lens camera, a Petri 7sII. When he taught me how to use them, it seemed to me that I was holding something magical in my hand. I always tried to keep a bit of that magic of wonder that you feel when you “see” an image to be captured. TPL: Talk to us more about you building a large format camera and wanting to explore antique techniques. MP: This is a project that intrigues me a lot and that is part of the desire to make "portraits" that is growing up more and more. With street photography I have explored and I explore people in action in their environment. With “posed” portraits I would like to be able to “capture” the soul of the subjects and fix it in an image. TPL: Where do you find your inspiration? MP: In my opinion, the seed of inspiration is born within us and must be cultivated. When I was teaching photography courses, many times I happened to answer the question of what is useful for taking good photos that can excite. I have always replied that it is necessary to read, visit exhibitions and museums, listen to music and travel. It is necessary to cultivate oneself, to be able to marvel and be sensitive to beauty. This helps a lot in the construction of a narrative thread that can link the images of the same project. Very important is the composition caring, which must be born at the time of shooting. For this reason, an education in vision is very important. TPL: Do you have a favourite place to photograph? MP: It depends on the mood. It can be extremely stimulating to go along the course of a river, to be truly guided by the noises of nature, to try to tell those sensations or vice versa to mix with people in places with a lot of movement. Railway stations are an ideal place to gather faces, situations and emotions, in stations you wait, you look. The two situations, natural places and crowded places, have one thing in common: they both have their own music, their own rhythm. We just have to follow him. For example, when I hear the wind and see a flock of birds flying high, I associate it with the sound of a Japanese flute. TPL: You also do a lot of street photography. What happens when you walk the streets with your camera? Explain your technique? MP: Street photography is a passion of mine. It's a hunt: situations are sniffed and we try to predict how they will evolve. For this kind of photography you need to be in tune with your equipment to shoot very quickly. As an optic in these situations, I prefer wide-angle lenses that allow me to come into almost physical contact with the subject by shooting at a very short distance. Live each day as if it were your last. - For me it means not taking anything for granted or achieved definitively. Live, breathe as deeply as possible. Listen and see with all the senses you have. Every day is a new project. 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? MP: I want to show that beauty and harmony can be around us, you just need to open your eyes and soul. I have a series of images which is called "Used". They are photos of abandoned, used objects. With my images I wanted to show that even those who are forgotten or no longer considered useful have their dignity and can have beauty. much depends on how we place ourselves in front of things or people. I can say that in my images there is always an immediately perceptible element. A protagonist. Then, if you look carefully, you can find other elements and points of interest. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MP: Many times I have been told that some of my images, especially nocturnes, recall Edward Hopper, whom I greatly appreciate for his portrayal of repressed and heartbreaking melancholy and loneliness of human beings. I consider his way of seeing very current and contemporary. Edward Weston is a constant source of inspiration for his religious attention to the plasticity of forms (my photographic avatar, a ball of paper, is unworthily inspired by his Pepper # 30) I can't help but mention Henri Cartier-Bresson, WeeGee, Gianni Berengo Gardin, Lucio Fontana for his colors, Maurizio Galimberti for his strength as an experimenter. 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? MP: Preferring a very dynamic photography, I use the APS-C format. Lightweight and compact equipment. I use my faithful Sony A6000 that I am about to change, with some fixed lenses from 16mm to 60mm, and zoom 16-55mm, 55-200mm. My favorite focal length is 16mm. TPL: When you go out photographing, 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? MP: I am attracted to both situations. 'Inner Ancestral Travel' is a project that comes from a precise idea around a theme that involves the photographed subjects and post production. So everything is turned in a precise direction from the first moment. The direction in a project must not be felt as a constraint, as a forcing, but as a very strong intent towards the completion of the project which also passes through a selection of images. But I am also attracted to impromptu photography. Being struck by a small detail or by a person's gesture excites me and invites me to take a photo. One thing I complain to myself about is how many photos I've seen and couldn't take because I was driving the car or didn't have a camera with me. TPL: Are there any special projects you are currently working on that you would like to let everyone know about?What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? MP: I am growing my equipment, in particular lights equipment, because I would like to dedicate myself to portraiture by going to people to have them pose in their environment or even on the street. The commitment will be to bring out a story from a single image. A great challenge. The forbidden dream is to be able to devote oneself to ancient techniques such as wet collodion. The goal is to be able to keep the fire always lit and the desire to "see" and to show beauty. I do not deny that seeing the emotion of people in front of their images is always an extremely touching and engaging experience. It is as if there is something that unites even if we have never met. Perhaps this is precisely the function of art. So I hope to see myself still walking with my eyes looking for images to collect. TPL: When I am not out photographing, I (like to)... MP: I like to read essays on history, particularly medieval. I am interested in the symbols that were used at that time. I love sports, basketball mostly, and movement in general, traveling, hearing music and playing it, even if I'm not very capable. Maurizio Pichi’s series is a captivating photographic journey that is both physical and metaphysical, allowing viewers to explore the beauty of forgotten moments and discover the emotion and form that shapes our world. With his vision and dedication, he has created something truly unique and meaningful. We invite you to join Maurizio on this journey and explore more of his inspiring work. VIEW MAURIZIO'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

LIFE IN MY CITY Street photography is a way of self expression for Grzegorz Zukowski, a reflection on his more personal thoughts about life in his city. LIFE IN MY CITY April 19, 2021 INTERVIEW PHOTOGRAPHY Grzegorz Zukowski INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In a world filled with chaos and disorder, one street photographer finds solace in expressing himself through his lens. Grzegorz Zukowski, a Polish photographer, has been capturing the essence of everyday life on the streets of his home country for years. His photographs are unique in their composition and subject, capturing moments that are both accidental and deliberate. For Grzegorz, street photography is an opportunity to explore his personal beliefs about life in the city, while also celebrating its beauty and complexity. Through his work, Grzegorz is able to express his love for simplicity, order, peace and convenience, while finding freedom and spontaneity in the unexpected. With each photograph, Grzegorz crafts a story that allows viewers to immerse themselves in his perspective and experiences. Through his lens, he reveals a deeper understanding of the world and offers a glimpse into his personal journey as a street photographer. “Freedom is the strategy of making chance and necessity subordinate to human intention. Freedom is playing against the camera. We, photographers, if we want to show human condition, include what is informative in images, we have to smuggle human intentions into the program that are not predicted by it, force the camera to create the unpredictable, the improbable. I definitely want to say that I photograph to feel free.” IN CONVERSATION WITH GRZEGORZ ZUKOWSKI THE PICTORIAL LIST: Grzegorz please tell us about yourself. How did you become interested in photography? GRZEGORZ ZUKOWSKI: I live in Warsaw, Poland and I was born in this city. I'm now in my thirties. I became interested in photography when I was in my twenties as a student at the University of Warsaw. As I chose the specialisation of reportage and documentary. The lecturer on these workshops was one of the better known photo editors in photographic community in Poland back then, Iza Wojciechowska. Iza encouraged many people to become photographers and I'm very proud to be one of them. I think she had great teaching abilities and her reactions on our photographs and assignments she gave us, and how we talked about photographs were very inspiring. She noticed my photographs and perhaps felt how eager I was to do them, and after one of the workshops we had a short chat about photography. I think even though she simply said to me - "you see the light, so you can photograph and perhaps see what others can't" - reflecting on this, it has meant a lot to me. So I photograph. I also attended photographic studies of Polish Association of Artist-Photographers in Warsaw in 2011-13. After that I grew my interest in street photography, which I think came to me naturally as I was photographing in my spare time. But I think also because I was always interested in observing people in an urban space. I am a graduate of political science and journalism on the University of Warsaw. I was working as a Public Relations Specialist and now I am a Digital and Social Media Specialist with Amnesty International. TPL: Where do you find your inspiration? GZ: Everywhere. Maybe it will be a banal to say, but I just think the inspiration is everywhere and it is hard to tell for me where is that one specific place where I can find it. One finds it definitely a careful observation of oneself. The creative act, whether in photography or in any other creative genre, I think always includes the necessity to look at our own emotions, our personalities, question how we react to the things we interact with and why are we doing something. So the inspiration is our life experience and reflection on it. For example recently, the Women's Strike demonstrations in Warsaw were some great inspiration for me as strong emotions related to them as something unfair and cruel was happening, in another sphere perhaps looking at the paintings of Edward Hopper as they might represent the feelings of loneliness, but overall the most important is constantly discovering and knowing yourself. TPL: What is it that you enjoy about street photography? Explain your technique? What do you want to express through your photography? GZ: When doing photography or street photography in particular, I am drawn by it with a sense of acting freely as an observer, but also as a careful participant that is safe to absorb the emotions of the people around. The camera is my shield. Though Gordon Parks, great photographer, mentioned that for him his camera is his weapon, but I like to add that having a shield is also important. Not only you want to point the camera to something that matters to you, but also it might help you to be present, to protect you from what might be harmful, disturbing for you. What interests me in the frames is the simple composition and the subject - city and the people. When I organized my solo exhibition "Simplicity" in Warsaw in 2016, I wondered about urban life and doing street photographs, because of the contrasts I see. On the one hand you can say that urban life is spontaneous, random and chaotic. Similarly the photographer, when doing street photography, relies on intuition and on catching changeable, decisive moments. On the other hand human, when creating the urban space, is drawn by the need of order, convenience, simplicity. As well the street photographer in the frames arranges the space, catching elements, which are making a coherent composition. I wonder on this contrast – between something accidental, free, intuitive, spontaneous and the need of simplicity, order, peace and convenience. Furthermore, perhaps to put it more personally, one can say the big city determines feelings of loneliness and alienation from other people and what is around us. At the same time the urban life does not make us feel alone, constantly making us connect with others. I think I am searching, when doing photography, for more or less quite scenes, being aware of loneliness, and at the same time doing photographs to feel connected, catching human interactions and creating relations between them each other and the space around them. TPL: What is it like photographing on the streets of Poland? Do you have any favourite spots to go photographing? How has the pandemic affected you and your photography? GZ: I live in Warsaw and mostly I photograph here, from time to time I travel to other cities to spend a day in order to just have a walk and photograph. Of course pandemic and frequent lockdowns and restrictions made me to be more careful about that. At some point a strict lockdown made Warsaw's city center even a desolated, strange place that was very interesting to photograph. Of course usually I'm drawn by the places where people are present frequently, though I can seek scenes that are showing quietness in these busy places. What I think about the cities in Poland is that they're still an urge to modernise and in many ways it is good as it brings some improvements and revitalisation of attractive places. It is also good to see when local communities are taking the initiative to make their space more friendly and convenient. On the other hand there is always something in the past of these cities that is perhaps something more original in a eastern European manner, that contrasts with the need to modernise, in example when looking at the older architecture or sadly at the advertisement chaos. All of that of course can be used in street photographs. I think that by most of the time, even if I'm influenced by the place I am photographing I hope to catch something universal out of it and the context of a place is not as important as the general subject - people and the city. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GZ: When attending photographic studies of Polish Association of Artist-photographers I spent a lot of time photographing in black and white and such great photographers like Henri Cartier-Bresson or Josef Koudelka stayed with me and I always like to get back to the books I have with their photographs. On the other hand there are masters of color like Saul Leiter or Fred Herzog that I really like. And to mention present photographers Nick Turpin's series "On the Night Bus" and Damian Chrobak "Everywhere I look I'm being looked at", also resonates with me. But there are so many great photographers nowadays that there wouldn't be a space here to mention all that I admire. Maybe to emphasize that also other genres are important I recently got back to Edward Hopper's paintings and his sense of urban space and alienation of people in it sparks something in me or even gives me an impression of similarities in how he saw the space and how I photograph. TPL: Do you have a favourite quote, lyric, or saying that especially resonates with you? GZ: Not so long ago I encountered Vilém Flusser's philosophy of photography and it resonates with me how he underlines freedom as the key idea in photography. Let me quote here a short excerpt from "Towards a Philosophy of Photography": "We observe, all around us, apparatuses of every sort in the process of programming our life through rigid automation (...)." In short: Everything is becoming absurd. So where is there room for human freedom? Then we discover people who can perhaps answer this question: "photographers. (...) They are already, in miniature, people of the apparatus future. Their acts are programmed by the camera; they play with symbols; they are active in the 'tertiary sector', interested in information; they create things without value. In spite of this they consider their activity to be anything but absurd and think that they are acting freely. The task of the philosophy of photography is to question photographers about freedom, to probe their practice in the pursuit of freedom(...)." In short: Freedom is the strategy of making chance and necessity subordinate to human intention. Freedom is playing against the camera. These are words from 1980s. I think they're even more up to date now in even more technologised social life, where we are not creating images but we are being programmed by the them constantly. We, photographers, if we want to show human condition, include what is informative in images, we have to smuggle human intentions into the program that are not predicted by it, force the camera to create the unpredictable, the improbable. I definitely want to say that I photograph to feel free. What interests me in the frames is the simple composition and the subject - city and the people. 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? GZ: I usually keep my equipment light and I limit myself to one lens. From some time I've been doing street photographs with a mirrorless camera and with a fixed 35mm manual lens. That just suits me fine. When I'm out on demonstrations and events I change to a lens that gives me wide angle but with a zoom, like 18-55mm. I rarely use flash, but if yes, only on events, like demonstrations. I think I have a need to keep it simple and not to be distracted by sophisticated gear. In limiting yourself you might find an easier way of achieving what you want or what you need. TPL: When you go out photographing, 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? GZ: What there is at the beginning might be only an idea of a short walk. On other occasions I plan carefully where to go, from one point of a city to another, than to another and then elsewhere. Of course it happens that I'm asked to photograph someone or I'm photographing a specific event, so I can prepare myself more carefully by writing down what I want to get out of it. But all of these are more preparing myself to what is unexpected, that I can't foresee, while more important it seems is the road or the journey and not the goal itself. I like to think when photographing that I'm turning my mind to meditative kind a state, having a flow, that helps to calm down, observe, be careful, to absorb and be present. Actually what comes afterwards, when selecting and editing the photographs I've made, is the stage when a concept thinking happens. Because the photographs in this moment can reveal to me some emotions I might also have to what I photographed and a stream of thoughts and loose associations might occur and all of that can lead to decisions what photographs to publish, what to put in black and white and what in color, what might go in a series of some kind or what to leave for a while. TPL: Have you ever been involved in the creative world before photography? GZ: No, though when being a student I thought that writing will be a genre that I'll be improving and by this way trying to express myself. But discovering photography changed that. Though I like comparing these two things even if they seem completely different, yet we often put them together when illustrating a text with an image, or often say that one image can say thousands of words. I think Elliot Erwitt put it right, when he mentioned that a good photograph is when you want to get back to it over and over again like to a catchy line of a great poem. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? GZ: The street photography is a kind of a constant project for me, a stream of consciousness, that sometimes reveal to me some ideas. Like in 2016 I organized my solo exhibition titled "Simplicity" with some of my black and white photographs. I hope that in the future I'll publish them in some form in a concept, idea, that perhaps is evolving slowly, even when answering your questions in this interview. Meanwhile it seems that the situation in Poland will be a source of photographs, when social and political situation makes people to go out on to the streets, protest and organise in movements. That is something that also draws my attention and I want to be part of it, definitely as a careful observer. The people and their emotions is something that I'll try to turn my attention more to as I like to portray people and perhaps I do it in most of the times candidly anyway, but I think I'll try to improve posed photography. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? GZ: Perhaps nothing specific at this very moment, but with a stack of a lot of material to do something with. The women's strike protests in Poland and in general demonstrations throughout recent years has brought so many interesting stories, emotions to tell, that I will think about it more and still try to document it. TPL: When I am not out photographing, I (like to)… GZ: To be inspired, I like to have a cup of a good coffee, good read, good movie series to watch and great music to listen to and perhaps that all comes down to a banal, that I like to think the world is beautiful. Grzegorz Zukowski's street photography is a unique and powerful form of self expression. His eye for composition and his desire to capture something accidental, free, intuitive and spontaneous is evident in his work. By combining simplicity, order, peace and convenience, he creates a reflection on his own personal thoughts about life in the city. To view more of Grzegorz's stunning photography and gain insight into his personal reflections on city life, use the links below. VIEW GRZEGORZ'S PORTFOLIO read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

NEW YORK PARADISE LOST: BUSHWICK ERA DISCO Meryl Meisler's street photographs are her own unique American story where the disparate worlds of Bushwick and disco collided from 1973. NEW YORK PARADISE LOST: BUSHWICK ERA DISCO June 28, 2021 INTERVIEW PHOTOGRAPHY Meryl Meisler INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link It was a time of vivid nightlife, with its electric beats and the infectious laughter of those out to enjoy themselves. But during the day, it was a very different story. Bushwick in the 1980s was a neighbourhood marred by crime, addiction and the ravages of AIDS. But one woman had the courage and vision to document both sides of this story; to tell the tale of a city torn apart by a tumultuous time in history. New York street photographer Meryl Meisler's exhibition, New York PARADISE LOST: Bushwick Era Disco, chronicles the hedonistic nightlife scene of the late 1970s and pairs it with poignant images of those who lived through it – all through the gaze of her lens. Meryl’s remarkable journey began in 1975 when she returned to her hometown of New York City with a camera in one hand and a dream in the other. Inspired by photographers such as Diane Arbus and Jacques Henri Lartigue, as well as her own father and grandfather, Meryl studied with Lisette Model, and began to capture her city on film. By day she worked as a freelance illustrator, but by night she frequented and photographed the iconic discos of New York City. As a 1978 C.E.T.A. (Comprehensive Employment and Training Act) Artist grant recipient, Meryl created a portfolio of photographs that explored her Jewish identity for the American Jewish Congress. Then she embarked on a three-decade career as an New York City Public School Art Teacher, while still managing to capture moments of beauty in what some considered an ugly city. Now, after retiring from teaching in 2010, Meryl has released a collection of her previously unseen work – love letters captured through her lens – which were kept secret for decades. In this interview we will be speaking to Meryl about her first steps into photography, her time as a school teacher, her inspirations, and working and living during this challenging period of Covid-19. For behind every photograph is a story, and Meryl’s journey is one that needs to be heard. “I got my first camera, 'The Adventurer' as a 7th birthday present from my parents Sunny and Jack. Dad, a printer by trade, was a terrific photographer. Grandpa Murray Meisler, a machinist, always had a camera and light meter on him. It didn't matter if you ever saw the photographs, the action of photography (like singing to oneself) was essential and satisfying in itself. As a 7-year-old, I photographed my family, friends, and trips. Those have been my life subjects. When I took my first photography class in 1973, I didn't have a flash while enrolled at the University of Wisconsin-Madison. I walked around the streets of Madison, taking my first rolls of B/W film. When I moved to NYC in 1975, my camera came with me everywhere. If I saw something interesting on the street on my way to where I was going, I'd pause to photograph it. In retrospect, I didn't go to photograph. I photographed where I was going.” IN CONVERSATION WITH MERYL MEISLER THE PICTORIAL LIST: Meryl, it is such a great honor to have you featured. How did you get into the disco scene in New York in the 1970s, which must have been quite a contrast to your daytime job as a school teacher? MERYL MEISLER: In 1977, I was taking a class about making a photo book at The New School. The instructor, Bob Adelman, told me about the upcoming “COYOTE Hookers Masquerade Ball” on Valentine’s Day at the Copacabana. I put on my Girl Scout uniform, brought a camera and flash, and talked my way into the wild party. It was my first big extravaganza disco event. I loved it. On a bus returning from Mardi Gras in LA, in 1977, I met Judi Jupiter. We became friends and hit all the hottest clubs together. In 1979, I became an NYC Public School Art Teacher. That cut my nightlife back a lot. I never went out on school nights, but there were still weekends. TPL: Tell us a bit about Bushwick, what is it's background, it's demographics then and now, how has it changed from the time you took those photos? MM: Bushwick is a neighborhood in the northern part of Brooklyn, bordering Queens. It was a Dutch Settlement purchased from the Canarsie Indians in 1638. For a short introduction to Bushwick’s history and current community, I suggest starting with the Community Board 4 (representing Bushwick) on the NYC.gov site. When I arrived in December 1981 to be a teacher in Bushwick, it was a tough, difficult time - socially and economically in NYC and this neighborhood. There were many burnt-out buildings and garbage-strewn lots. Flash forward four decades, the buildings are occupied, lots of new construction and most of the lots are cleaned up. Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is nostalgia and sorrow for what is lost in the process of change. TPL: How do you find your inspiration to keep photographing? MM: Photography is something I enjoy doing and am challenged by at the same time. It lifts my spirits and makes me feel more attuned to everyday experiences of life. In my opinion, it is vital to find a community of supportive people who have similar passions or interests. For example, I’ve been a long-time member of Professional Women Photographers. Artists communities give one another advice, share, and make opportunities to exhibit, provide critical feedback and become role models to keep on and going forth, whether or not you get timely recognition. © Meryl Meisler, Spring Snowstorm Through Classroom Window, 1982 © Meryl Meisler, Shirtless Man Wearing Hood and Jeans, 1982 © Meryl Meisler, Tasty Pretzel Bakeries, 1983 © Meryl Meisler, Two Standing Next to Sort of Palm Tree, 1977 © Meryl Meisler, Grace Jones in Hallway with Judi Jupiter and Others at Farfalle's Opening Night, 1978 © Meryl Meisler, Anklet Socks and Heels, 1978 © Meryl Meisler, School Cafeteria Middle Finger, 1990 © Meryl Meisler, Nose Ring, Earring, Mustache and Hickey, 1991 © Meryl Meisler, Potassa Potassa de la Fayette Poised on Grand Piano, 1977 © Meryl Meisler, Two Women on Floor Next to Judi Jupiter During the Prom Party, 1978 TPL: With the pandemic over the past year and a half, it has been tough on many artists. How have you been feeling through this time, both personally and as a photographer. Do you have any advice as an artist to get through these tough times? MM: Health and well-being come first. If you are going through temporary or long-term difficulties, seek professional help. I am fortunate to be in a long-term relationship and was not isolated. Emotionally, it was very challenging. To help maintain a sense of safety and balance during quarantine, I set up a routine with zoom - therapy, movement class, spiritual community, and social activism. Working on this book and exhibits, and building a darkroom, helped me stay physical and mentally healthy and grounded. TPL: What photographers made the most impact on you at the beginning of your photography journey? MM: As a child, I looked up to my dad's photographs of family events before and during my lifetime. The 1972 Diane Arbus retrospective at MoMA captivated and inspired me. The following year I enrolled in an introduction to photography class while in grad school at the University of Wisconsin at Madison. When professor Cavalliere Ketchum showed the playful childhood photographs on the streets of Paris by Jacques Henri Lartigue, I decided to photograph my friends and family on my visits home to Long Island. Walker Evans encouraged me to capture subway riders. Margaret Bourke White made me more conscientious of juxtapositions. Brassaï inspired me to capture the nightlife I was living. Roman Vishniac heightened my awareness that life as we know it can be taken away, cease to exist. Lisette Model's snapshot aesthetic and encouragement when I studied with her kept me photographing from the heart and gut. Helen Levitt whispered in my ear as I documented children playing on the street. Photography is something I enjoy doing and am challenged by at the same time. It lifts my spirits and makes me feel more attuned to everyday experiences of life. TPL: Where has been your most favourite place to photograph? MM: New York City is my “magic city.” Every time I set foot in NYC, its energy recharges me. The variety of people, food, arts, architecture, old and new, young and forever young, wise souls and inquiring minds, longtime residents and recent arrivals, history in the making, bright sunlight, the mysteries of the night - they all enchant me. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? MM: Most of my street photographs are not candid. Then and now, I usually ask the subjects verbally or with non-verbal cues if I may take their photograph. People usually gave their permission. Pre-covid, in the heights of the pandemic, and now - if a person replies no, I respect their wish not to be photographed. It is no big deal. I am very selective about who and what I photograph and often tell the person what sparked my interest. TPL: When you take pictures, do you usually have a concept in mind of what you want to photograph, or do you let the images just 'come to you', or is it both? MM: Unless on an assignment, I don’t have a preconceived concept of what I will photograph. Of course, if I am going to a specific event, for example, a drag performance, I want to photograph the performers. I photograph things that look so familiar; they might seem like a Norman Rockwell painting reenactment. I photograph things I’ve never seen before. I’m drawn to the ordinary and extraordinary. © Meryl Meisler, Girls Braid, 1982 © Meryl Meisler, 3 Menudo Fans, 1983 © Meryl Meisler, Five Fashionable Rejects (With Judi Jupiter), 1978 © Meryl Meisler, La Farfalle Man Wearing Turban,1978 © Meryl Meisler, Andy Warhol Smiling With Eyes Closed (Between his Friend and Judi Jupiter),1977 © Meryl Meisler, Family Picnic, 1982 © Meryl Meisler, Fix Bike Flat, 1982 © Meryl Meisler, Palmetto Cars and Bus, 1985 © Meryl Meisler, Four on Deck at Star Wars Party, 1977 © Meryl Meisler, GG Bamum Mens Room, 1978 © Meryl Meisler, Back Doorway at COYOTES Hookers Masquerade Ball, 1978 © Meryl Meisler, Two Queens at the COYOTE Hookers Ball, 1977 © Meryl Meisler, Student Interviews Police Officers, 1982 © Meryl Meisler, Three Is 291 Grads Posing Near Cars, 1982 © Meryl Meisler, Studio 54 Spoon Man in Moon, 1977 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? MM: In the 1970s, I used a Norita Graflex - 120 SLR medium format, Vivitar flash, and TriX 400 film. If the Norita Graflex was in repair, I used a Minolta SRT101 loaded with color slide film (preferably Kodachrome 64). When I started teaching in Bushwick in the 1980s, it felt risky to carry an expensive camera. So, I bought an early point-and-shoot pocket camera (I think it was a Canon Sure Shot) and used color slide 35mm film. I have used a variety of cameras over the decades - analog and digital. When the Norita Graflex became “arthritic”- no longer worked in the cold area, I bought a Pentax 6x7. It’s a bit too heavy for me to carry around. Two years ago, I found someone who could repair the Norita - so I am back to using it and found another used one as a backup. I prefer a wide-angle lens, the equivalent of a 35mm lens in 35mm photography. The medium format wide angle equivalent is 55mm. Currently, my “carry around” is a Fujifilm X100. Ironically, with the Fuji autofocus - too many of my images are out of focus. I prefer a split image focusing system. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MM: My immediate goals, after the exhibits, release and events related to New York PARADISE LOST Bushwick Era Disco are: Work on a monograph that EYESHOT will publish. It will be an overview of my street photography from 1973-2021. In October 2021, I'm scheduled for my first solo exhibit in Europe at Fotogalerie Friedrichshain in Berlin. Another book of the 1970s and 1980s never released photographs of hot spots across the USA that I've had on the backburner urges to be realised. There are thirty-six years of my insider's point of view photographing NYC schools that yearn to be edited, made into a book, and exhibited. In addition to continuing to dig through my vast archives, I plan to create a new series of self-portraits and continue carrying my camera along to familiar places and new adventures. From time to time, I get messages from people who find themselves, their family, or friends in my 1980s Bushwick photos. I've toyed with the idea of photographing those people now long enough. I might begin doing it. Where would I hope to see myself in five years? A solo museum exhibit would be divine. Most importantly, I hope to be alive and well and going forth. TPL: When I am not out photographing, I (like to)… MM: I like to spend quality time with my life partner Patricia, close family, and friends. I enjoy dining at home or out, catching up with life, laughing and making new memories together. Live musical theatre is my entertainment of choice - I look forward to Broadway & Off-Broadway reopening and traveling more. I can’t carry a tune but like belting it out with the crowd at a piano bar. Meryl Meisler is an inspiration to street photographers everywhere. She has devoted her life to her craft with passion and candor, making her an undeniable force in the world of photography. We are grateful for her time and for the opportunity to learn from her. To get even more inspired, visit Meryl's website and follow her on Instagram. Let us all learn from her and take her enthusiasm for street photography as our own. VIEW MERYL'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

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. POINTE-AU-CHIEN IS NOT DEAD Survival of an Indian tribe in South Louisiana June 1, 2025 INTERVIEW PHOTOGRAPHY Wayan Barre INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Photographer Wayan Barre returns to The Pictorial List with another powerful body of work that deepens his commitment to telling the stories of marginalized communities and environments under threat. Based in New Orleans, Wayan is drawn to places where cultures collide, where history and identity are at risk, and where resilience is not a choice — but a legacy. With a practice resonating with compassion through visual storytelling, his photography brings light to voices too often left in the shadows. Wayan’s visual narratives are authentic and captivating, defining the complexities of the communities they portray. Southern Louisiana, USA. The region and its population are at the forefront of environmental disasters. The Pointe-au-Chien Indian Tribe is a French-speaking Native American community of 850 members, living down the bayou. For generations, they have faced existential challenges, from protecting their homes against hurricanes, storms, flooding, and land loss to defending their legacy and culture. The annual hurricane season has started, and they are prepared for it. With the help of scientists, researchers, landscapers, geologists, lawyers, activists, and volunteers, the tribe is looking for ways to fix the past and prepare for the future. This documentary tells the story of the unprecedented crises and the constant efforts to protect homes as well as traditions. What this community is experiencing today could give us keys to tomorrow's challenges. Wayan’s photographs are not just records of loss — they are windows into survival, dignity, and the will to remain. By documenting the lives and lands of those on the front lines of climate change, his work invites us into a larger conversation about displacement, preservation, and the fight for cultural continuity in the face of erasure. In this follow-up interview, we explore Wayan’s evolving perspective as a photographer, the layered stories behind his photographs, and the meaningful relationships he has formed with the people who inhabit these fragile yet fiercely defended spaces. His work stands as a bridge — between past and future, between community and audience, and between image and action. “Reading about climate change is one thing; witnessing it unfold around you is something else entirely. When roads flood year after year, when families are forced to leave, when land you once stood on becomes open water — it becomes impossible to ignore. Living in New Orleans has shown me that climate change is not only a scientific or environmental issue — it is also profoundly social. It reveals deep inequalities: who gets protected, who is forgotten, who has the means to recover. Through my photography, I try to make these realities visible — not just the data, but the human cost.” IN CONVERSATION WITH WAYAN BARRE THE PICTORIAL LIST: Your work often focuses on communities facing the pressures of both cultural marginalization and environmental change. What drew you back to the Louisiana coast for this chapter in your storytelling? WAYAN BARRE: I live in New Orleans, so the environmental crises along the coast are not abstract — they’re close, immediate, and visible. I was drawn back because this is one of the most fragile regions in the U.S., and yet so many of the people living here are often overlooked. My work with the Pointe-au-Chien Indian Tribe was being done as I was also documenting Cancer Alley — two intertwined stories showing different faces of vulnerability and resistance in Louisiana. The Pointe-au-Chien Indian Tribe, in particular, represents a powerful intersection of cultural resilience and climate vulnerability. Their story is both deeply local and globally relevant. TPL: The land loss at Isle de Jean Charles is staggering — from 22,000 acres to just 320. How did you approach documenting this scale of environmental devastation while honoring the people who still call it home? WAYAN: What happened to Isle de Jean Charles — located just next to the Pointe-au-Chien Indian Tribe — where many residents including members of the Jean Charles Choctaw Nation were eventually resettled further inland, became the first federally supported climate relocation in the United States. While a necessary move for safety, it also marked a rupture from ancestral land and cultural continuity. With Pointe-au-Chien, I wanted to document a different path — a community doing everything it can to resist that same fate, to stay, to adapt in place, and to protect their connection to the land before it’s too late. I try not to reduce these stories to devastation alone. Yes, the numbers are shocking, but what struck me most was how people continued to live, adapt, and fight to stay connected to their home. I approached the work with humility — spending time, listening, learning. I wanted the photos to reflect presence, not just loss. That meant showing the everyday — children playing, elders tending to the land, ceremonies continuing. It’s about life, not just erosion. TPL: What initially motivated you to focus on the Pointe-au-Chien Indian Tribe, and how did you approach building trust and mutual respect with the community throughout this long-term and deeply personal project? In your experience with the Pointe-au-Chien Indian Tribe, what have you learned about resilience and cultural preservation in the face of displacement? WAYAN: I first heard about the Pointe-au-Chien Indian Tribe when they were planning to build a French Immersion School to revive the language among their community — only a few elders still speak French. That initiative resonated with me deeply, as a French speaker myself. One day, I decided to take the road and knock at the door of their Tribal building. We talked, and an hour later, I was boarding a boat with Donald, one of the tribe’s most active members, to photograph the surrounding bayous and witness the effects of erosion. That was the beginning of my journey with them. I returned weekly — not only to document their lives and the land, but also to gain their trust, to give them the time to get used to me and my presence, and to show that I was committed to understanding their world with honesty and care. From them, I’ve learned that resilience isn’t always loud. It’s in how you pass on language, how you show up for tribal council meetings, how you teach a child to fish in waters that didn’t used to be there. It’s about honoring ancestors by refusing to disappear. This is Pointe-au-Chien, meaning “Point of the Dog”. It is also named Pointe-aux-Chênes (“Point of Oaks”). The town is surrounded by wetlands and protected by levees on each side, thanks to the Morganza-to-the-Gulf Hurricane Protection System. A gate closes the bayou during floods. © Wayan Barre Price Senior from the Pointe-au-Chien Indian Tribe has never left Pointe-au-Chien, even during the strongest hurricanes. He gave his shrimp factory to his two sons. © Wayan Barre The Pointe-au-Chien Indian Tribe is governed by a Tribal Council and their Chairman, Charles “Chucky” Verdin. © Wayan Barre During the Tribe Council, the elected members make decisions and plans to rebuild, restore and protect the land from numerous environmental disasters. © Wayan Barre Because of rising water, the tribe has had to move regularly and adapt. © Wayan Barre As an active tribal member, Donald invests most of his time in various initiatives and in raising public awareness on the challenges faced in the area. © Wayan Barre Sign stating "Pointe-au-Chien tribal land". © Wayan Barre "I lost a lot during Katrina. This is one of my last photographs." - Price Sr. © Wayan Barre Since the Hurricane Ida hit, this boat is stuck in the marsh. Its owner is waiting for help to move the boat back into the water. © Wayan Barre Jake, member of the Pointe-au-Chien Indian Tribe, stands on the remains of his house after the destruction of a tornado in 2021. He lost almost everything, and has had no insurance since 2012 due to yearly increasing premiums for the region. © Wayan Barre As do many people in South Louisiana, Elton and his mother Theresa live in a trailer loaned by FEMA (Federal Emergency Management Agency). © Wayan Barre Elton's house was damaged by Hurricane Ida in 2021 and lack of resources to fix the roof in time means the building has become completely uninhabitable due to toxic mold. © Wayan Barre Elton and Jake are both members of the Indian Tribe. Their lives have been highly impacted by hurricanes. "We'll stay here until we die." © Wayan Barre The Pointe-au-Chien Fire Station has not been rebuilt since Hurricane Ida struck. © Wayan Barre TPL: The tribe has sought federal recognition for decades, yet continues to be denied. How has this lack of formal acknowledgment compounded the challenges they face, and in what ways did you reflect this tension or injustice in your visual narrative? What challenges — ethical, emotional, or logistical — have you faced when working within communities that are experiencing such profound loss and change? WAYAN: The lack of recognition affects everything — from access to funding, to legal protections, to how their story is written into history. It’s a quiet form of erasure. The tribe is still in the process of seeking federal recognition, and the uncertainty surrounding this process only deepens their vulnerability. In the visual narrative, I tried to reflect this not through literal images of bureaucracy, but by focusing on the emotional and cultural weight of this absence — showing the strength of traditions that persist without institutional support, and the quiet determination to remain visible in the face of systemic neglect. Ethically, I’m always aware of not exploiting grief or using trauma as spectacle. Emotionally, it’s hard not to feel powerless at times. But that’s also a reason to keep going — because these stories matter and need to be told with care. TPL: What do you hope this body of work will achieve — for the tribe, for audiences, and for the ongoing dialogue around environmental and cultural preservation? What do you think the story of Pointe-au-Chien teaches us about the broader challenges of climate change and cultural preservation? What impact do you want it to leave for future generations? WAYAN: I hope it brings visibility and respect to the tribe. I hope it helps audiences connect emotionally to what can otherwise feel like abstract issues — like climate change or federal policy. The story of Pointe-au-Chien shows that these aren’t separate issues: climate justice and cultural survival are intertwined. It is also a way to raise awareness about what is happening right now — not only in South Louisiana, but in many other places across the globe. Climate change is here, and communities on the front lines are already living its consequences. For future generations, I hope these images are a record — that they show who was here, how they lived, and how they stood their ground. TPL: Has your perspective as a photographer shifted through these projects? How has this shaped your purpose or mission as a visual storyteller? WAYAN: Absolutely. At first, I just wanted to take strong images. Now, I want those images to hold space — for dialogue, for recognition, for memory. My mission has become more about creating a document that communities can use, not just something for a portfolio. It’s not just about telling stories — it’s about who gets to tell them and for what purpose. TPL: What inspires you to use your camera as a tool to highlight the social and political issues within the communities you document? Was there a specific moment or experience that ignited your passion for this kind of documentary photography? WAYAN: It wasn’t a single moment, but a gradual realization. I used to work in a completely different field. When I started photography, I was drawn to stories that weren’t being told. Meeting people who trusted me with their experiences made me understand the responsibility that comes with the camera. It’s a privilege to be let in — to people’s lives, their losses, their celebrations. That trust inspires everything I do. TPL: Your work often blends intimacy with documentary objectivity. How do you decide on the visual style and narrative structure for your projects, and what creative or ethical challenges do you encounter in telling such layered and sensitive stories? WAYAN: The style usually emerges from the relationships. I spend time with people, I observe, and I shoot only when it feels right. I try to let the tone of the work reflect what I see — sometimes it’s quiet, sometimes raw. One of the main challenges is avoiding simplification. These are complex stories with many sides. Another is consent — not just legal, but emotional. I always ask: should this moment be shared? Am I the right person to tell it? Coastal wetland loss in Louisiana from 1985 to 2010 averaged approximately a football field an hour. Key contributors are climate change, sea level rise, subsidence, storms, flooding, oil and gas exploration and levees, which cut wetlands off from land-restoring river sediments. © Wayan Barre With local volunteers, the non-profit CRCL (Coalition to Restore Coastal Louisiana) is planting cypress trees near Pointe-au-Chien to help limit the damage of future hurricanes. © Wayan Barre Isle de Jean Charles, an island next to Pointe-au-Chien is rapidly disappearing into the Gulf of Mexico due to coastal erosion and sea level rise. The island once encompassed more than 22,000 acres, but today only 320 acres remain. © Waya Barre Dominique Dardar, 60 years old, is one of the last Isle de Jean Charles residents. Like him, two other families refused to be relocated to the New Isle. © Wayan Barre The non-profit CRCL (Coalition to Restore Coastal Louisiana) and various volunteers are releasing oyster shells on the banks of the bayou. The goal here is to protect a burial mound belonging to the Pointe-au-Chien Tribe. © Wayan Barre “My factory is the last in Pointe-au-Chien. There used to be four. The price of shrimp is not what it was back then." - Pierre Dardar Jr. © Wayan Barre Alex Billiot, from the Pointe-au-Chien Indian Tribe, owns a crab factory along the bayou. Because of land loss in the area, crabs have fewer estuaries to reproduce. This has impacted the industry substantially. © Wayan Barre Shrimping is done in the bayou Pointe-au-Chien. Wild horses like to come at dusk to have company. © Wayan Barre This is the grave of Alexander Billiot, a French sugarcane farmer in the 1850s and common ancestor of the Pointe-au-Chien Indian Tribe who fathered children with a Native American woman. Billiot’s grave lies several miles down the bayou, distanced from Pointe-au-Chien because the constant land loss has forced the tribe to relocate north. It is now inaccessible to his descendants. © Wayan Barre These are the remains of Pointe-au-Chien Elementary School which closed a few years ago due to a lack of children and then was all but destroyed by Hurricane Ida in 2021. © Wayan Barre Like her tribe’s ancestors, Christine Verdin speaks Louisiana French and is determined to revive the language and preserve the culture. © Wayan Barre The numerous environmental, social, and economic challenges faced by the communities of this region are growing and weighing more heavily by the day. © Wayan Barre These horses survived the latest hurricanes by themselves. Nobody knows how. They belonged to a resident of Pointe-au-Chien a long time ago. © Wayan Barre TPL: Beyond your documentary projects, what other subjects or styles do you find yourself drawn to photographing — and how do they reflect your personal vision as an artist? WAYAN: I’m often drawn to street photography. It allows me to stay curious, to observe quietly, and to capture fleeting interactions and emotions in public space. I see it as an ongoing exercise in paying attention. Even when I’m not working on a specific project, I carry a small camera with me to photograph scenes that feel spontaneous and real. Street photography helps me sharpen my eye and stay grounded in the world around me—it’s where instinct and observation meet. TPL: Do you have a personal archive or body of work that’s just for you — images that hold special meaning but aren't necessarily meant for public viewing or publication? WAYAN: I keep a quiet archive of everyday images — of my son, my wife, my friends. I don’t take them with the intent to share or exhibit. I use a small camera to record moments that feel important to me, even if they're mundane or imperfect. TPL: What is the next story you hope to tell — an untold narrative you feel compelled to reveal, support, or bring greater awareness to through your photography? WAYAN: I’m currently working on a long-term project about the Missing and Murdered Indigenous Relatives crisis, starting with the Navajo Nation. It’s a story of loss, but also of activism, survival, and injustice. Like Pointe-au-Chien, it’s about the fight to be seen and heard, to demand justice, and to protect what matters most. Wayan Barre’s journey to Pointe-au-Chien is more than a photographic endeavor, it is a deeply personal and purposeful act of witness. Through Wayan’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. His photographs, steeped in empathy and respect, serve as quiet yet powerful reminders of the humanity behind headlines, policies, and statistics. They remind us that resilience is not an abstract concept, it is embodied daily in the choices, traditions, and voices of people determined not to be erased. As Wayan continues to chronicle the evolving stories of communities like the Pointe-au-Chien Indian Tribe, his work becomes a vital archive of resistance and renewal. These images, layered with history, vulnerability, and strength, speak to the power of visual storytelling to bridge gaps between outsiders and insiders, between past loss and future hope. In elevating the voices of those too often overlooked, Wayan not only deepens our understanding of climate justice and cultural continuity but also challenges us to reconsider what it means to stand in solidarity. This is not just the story of a disappearing coastline — it is the story of what it means to belong, to fight for recognition, and to keep faith in the face of adversity. And thanks to storytellers like Wayan Barre, the world is watching and remembering, that Pointe-au-Chien is not dead. It is alive with purpose, and it is far from finished. To explore the full story of Pointe-au-Chien, follow the link below and discover more about this community — their struggles, resilience, and the challenges they face — as captured through Wayan’s poignant visual storytelling. VIEW WAYAN'S PORTFOLIO Pointe-au-Chien story by Wayan >>> Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

STREET THEATRE Now with a camera as her paint brush, Alexandra Avlonitis captures the endlessly fascinating drama unfolding in the New York public sphere. STREET THEATRE August 17, 2020 INTERVIEW PHOTOGRAPHY Alexandra Avlonitis INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In the ever-changing world of art, there are innovators determined to push boundaries and explore new forms of creativity. Alexandra Avlonitis is one such artist who, after years of dedicating herself to fine art painting, decided to try something new. In 2015, she embarked on an unexpected journey to the world of photography, using her skills in color, light, and composition to create stunning art. As a native New Yorker, Alexandra was instantly drawn to the genre of street photography, captivated by the lively energy of the city and its various cultures. She was determined to capture the drama of public life that was unfolding before her eyes. Abandoning her paint brush in favor of a camera, she has since dedicated herself to mastering the art of photography. Whether inside the studio or out, the artistic tool box was the same. As a native New Yorker, the genre of street photography was such a natural fit for her. She will always be captivated by the hum and buzz of the street, the energy of unremitting commerce, the mash-up of peoples and different cultures. This interview explores Alexandra Avlonitis' unconventional journey from painting to photography, as well as her approach to capturing the exciting energy of the city streets. Readers will gain insight into how she was able to use her existing artistic knowledge to create beautiful and unique photographs, highlighting her incredible talent for capturing moments and creating art. “I am not a landscape photographer or a portrait photographer. I am a street photographer. Moreover, I live in the crush of humanity that is NYC. If I want to make strong and compelling work I have to put myself out there - physically and creatively. I have to overcome my timidity daily, go forth with confidence and get close.” IN CONVERSATION WITH ALEXANDRA AVLONITIS THE PICTORIAL LIST: Alexandra please tell us about yourself. You once were a fine art painter...what was that moment/s that made you transition to street photography? Do you still paint? AA: After years of painting, I found myself experiencing a creative block. A friend told me about a photography class she was taking at the International Center of Photography here in NYC. I had been photographing with my cell phone for some time, often while traveling, and thought it was time to learn how to use a proper camera. So I put the paint brush down five years ago and took my first class at ICP. Photography allowed me to integrate my knowledge of color, light and composition in a whole new medium. I have not painted since. Not that I don’t miss it sometimes, but for me, this new endeavor demands full concentration and practice. TPL: Where do you find your inspiration? AA: I am drawn to urban settings with a mash-up of people and cultures. Vibrant light and color, the essential elements of painting, set the stage. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? AA: Essential in my photography is the human element captured in quotidian scenes: finding that which connects all of us on some fundamental level. ! TPL: Your photographs have this beautiful candid intimacy about them. Often you are focusing very closely on the subjects. What is your process when you are out shooting on the street? AA: Like most street photographers I try to be unobtrusive on the street. As a petite woman I find I have an advantage that allows me to blend in, often unnoticed. And while I try to fill the frame with the action on the street, I am often drawn to particular individuals. If, at the moment I take a candid photograph, eye contact is made, all the better. I feel it brings emotional depth to the image. (Once, in a workshop, a famous street photographer said that if eye contact is made with the subject, it is not a valid street photo. I humbly beg to differ.) TPL: Who are your favourite artists and photographers? AA: The classic street photographers top my list: Garry Winogrand, Helen Levitt, Vivian Maier, Joel Meyerowitz, Alex Webb and others. And with my painting background I am forever dazzled by Saul Leiter’s colors, layers, and composition. Photography has one leg in painting and one leg in life, but the two things must be combined. - Brassai TPL: Do you prefer to shoot alone or with friends? AA: I enjoy the company of my photography compatriots but most often I prefer to shoot alone. TPL: Where is your favourite place to shoot? AA: I am fortunate to live in NYC, a great street photography city. When traveling I seek out similarly dense and lively spaces. A recent trip to northern India was especially intoxicating: a street photographer’s paradise. TPL: Has your style of shooting changed since you first started? AA: When I started out, my ICP instructor advised that I try a 16mm (24mm equivalent) lens which would force me to get close to my subjects; and it did indeed. Over time, though, I gravitated to the more traditional 23mm (35mm equivalent) lens. But in this era of the global pandemic, in order to keep a safe distance (sadly) from my subjects, I have used a 18-55mm (27-84mm equivalent) lens. Playing around with that has been fun. Will see where I land when life is back to normal. ! TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AA: Since photography is a fairly recent pursuit for me, I feel like I’ve got so much yet to do: study the work of preeminent photographers from the past and present, work at my craft, and do good work that finds a place in the world. TPL: “When I am not out photographing, I (like to)... AA: Hard to say. As a photographer you are always photographing. With or without a camera you are seeing, composing, and snapping away. If only in your head." As Alexandra's passion for street photography continues to grow, so does her impressive portfolio of work. The captivating energy of the city and its people is brilliantly displayed in her photographs, allowing us to connect with the world around us in a new and exciting way. Her imaginative artistry brings the hustle and bustle of city life to life, providing us with a unique view of the world we live in. To see more of Alexandra's fantastic street photography use the links below and be inspired. VIEW ALEXANDRA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> !

LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. LIMINAL SPACES November 15, 2024 INTERVIEW PHOTOGRAPHY Anna Tut INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In contemporary photography, Anna Tut emerges as an artist focused on exploring profound themes through her work. Born in the far east of Russia, on the border of China, Anna’s geographic origins mirror the liminal spaces she captures in her work — spaces between the seen and unseen, the known and unknown, the external and internal. Her artistic journey began as a departure from her profession in economics, a shift that spoke to the power of artistic reinvention. This personal transition shaped the deeply introspective nature of her photography, embracing it as a means of personal expression and discovery. At the heart of Anna’s artistic practice is a desire to create work that resonates beyond aesthetics, offering her audience projects that provoke thought, evoke emotion, and carry significant social commentary. For her, photography is not simply a medium to capture moments, but a powerful tool to convey messages — each photograph is engrained with meaning, each project is a statement or call to action. Her work reflects her belief that art has the ability to shape perspectives, ignite conversation, and inspire change. Anna’s interdisciplinary approach, applying embroidery, appliqué, and collage to her photography, results in photographs that are not merely aesthetic but carry layers of meaning. This fusion of mediums allows her to create images that are as textured in their visual language as they are rich in narrative depth. These elements act as visual metaphors for the emotional, psychological, and social layers that define a person’s experience. Her latest series, “Women”, is an exploration of the complex role of women in contemporary society. As much as women have gained rights and freedoms, they still often face immense pressure — juggling roles in society, work, and family life. Anna’s series transforms her subjects into visual stories that articulate the tensions and contradictions women face today. Each image is meticulously composed, with every detail — lighting, expression, and gesture — carefully thought out to evoke a response. The portrayal of women in Anna’s work is imbued with symbolism and a sense of timelessness. Her use of shadows, color palettes, and fabric all contribute to an air of mystery that speaks to the hidden depths of female identity. In her photographs, there is a duality — a blending of strength and vulnerability, of power and grace. The 15 women featured in her project, aged between 25 and 60, are depicted as both subjects and objects of contemplation, inviting the audience to reflect on their own understandings of womanhood. In doing so, Anna challenges the viewer to consider not just what they see on the surface but the inner world that each woman inhabits — a world that celebrates the idea that every woman is an independent, multi-dimensional individual. In this interview, we explore Anna Tut’s artistic philosophy and delve into the inspirations behind “Women”. We discuss how she approaches the delicate task of portraying women in a way that honors both their individuality and their collective experience. Through her art, Anna aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. Her portraits act as both mirrors and windows — reflecting the reality of womanhood while offering glimpses into the unspoken depths of her subjects’ inner lives. We also explore Anna’s commitment to pushing the boundaries of photography by integrating traditional craft techniques with digital artistry, creating a distinctive visual language that is all her own. Anna Tut’s work reminds us that art can be a powerful tool for dialogue and change. She believes that photography, beyond its aesthetic function, should inspire reflection and provoke discussion. As Anna looks to the future, she remains committed to creating projects that resonate on both a visual and intellectual level. For her, these projects are more than just an artistic endeavor; they are an essential contribution to the broader conversation about gender, identity, and societal roles. “The heroines of my photographs always like the result. Women are often dissatisfied with their appearance and are tired of the portraits they typically post on social media. They want more complex images of themselves. The visual pressure on women is very significant, and when they receive an image of their persona that is full of meanings, it becomes a very unusual experience.” IN CONVERSATION WITH ANNA TUT THE PICTORIAL LIST: Can you share how your personal journey and your experiences growing up in the far east of Russia have shaped your artistic vision, and in what ways do you think these influences manifest in your photography? What moments stand out as pivotal in your development as an artist? ANNA TUT: I was born in a unique region and from childhood, I witnessed unusual creativity shaped by folk crafts historically practiced by the indigenous peoples of these territories: the Nanai, Udege, Koryaks, and others. The so-called petroglyphs of Sikachi-Alyan are included in the UNESCO World Heritage list, and the ornamental art of the peoples of the Amur region is noted for its originality and beauty. From an early age, I encountered folktales and myths that were unusual and mysterious. Uncommon musical instruments are also characteristic of the art and culture of my region. I grew up immersed in this culture, which ultimately shaped my cultural identity. TPL: As an interdisciplinary artist, you integrate various mediums such as embroidery, appliqué, and collage into your photography. Can you elaborate on your motivations for combining these different forms of expression, and how you believe this fusion enriches the narratives within your work? Additionally, how do these techniques interact with your photographic images to convey deeper meanings, and what do you hope viewers take away from this multifaceted approach? ANNA: In my opinion, photography as a medium in its pure form is insufficient for expressing the creative potential of an artist, which is why I have been engaged in interdisciplinary art for a long time. This allows for the creation of visually more complex works, as well as infusing them with more intricate meanings. I still love the classic portrait, but for the idea of my project, it was necessary to create an image. It is the image, rather than a portrait of a specific woman, that allows me to express my thoughts most accurately. TPL: In your project “Women”, you focus on portraying women in a way that acknowledges both their individuality and their collective experiences. Can you describe your artistic philosophy regarding this delicate balance? How do you navigate the complexities of representing each woman's unique story while simultaneously addressing broader societal themes and issues that affect women as a whole? ANNA: The balance between individuality and collective experience in each specific woman is not only difficult to capture but also to convey to the audience. I start by engaging with each woman, exploring her story, experiences, and dreams. These conversations help me see the uniqueness of each participant, but they also allow me to identify common themes that concern all women, such as the struggle for equal rights, the role of women in society, motherhood, careers, and personal ambitions. I choose a particular image or concept for my subject. I do not take straightforward shots; instead, I employ complex photographic techniques such as long exposure, incorporating fabrics and reflective objects into the frame. I always use meditative music during the shoots and encourage the women to move as she feels comfortable. During this time, I capture her movements and photograph what I believe she radiates. I almost never use photo editing software; for this project, it would feel "unfair." TPL: In what ways do you aim for your work to influence discussions about gender identity and the emotional landscapes women navigate daily? How do you confront the challenge of ensuring that your portrayals resonate with a diverse audience, encouraging them to reflect on their perceptions of womanhood and the various roles women inhabit in contemporary society? ANNA: First of all, I send my projects to curators and try to propose them to publications. I believe this way I can draw attention to the issues and questions I address in my projects. I can publish individual frames from the project on my social media, and sometimes they attract very angry and unfriendly comments, which makes it clear to me that my visuals have touched a nerve for someone. TPL: As a photographer, how do you navigate the balance between technical skill and creative intuition in your work? Are there specific techniques or tools that you feel enhance your ability to express your vision, and how have these evolved over time? ANNA: I always rely on my intuitive perception. And while my technical skills grow year by year, they are just tools for my mind, and I use them to expand the possibilities for bringing my ideas to life. After all, the idea is what matters most, and then each artist expresses it in their own way using the technical means available to them. This is freedom, and it is wonderful! I believe that it is through personal images that we can speak to the global issues and legal questions affecting women around the world. TPL: In your opinion, what role does storytelling play in photography, and how do you approach the challenge of conveying a narrative through your images? ANNA: I love storytelling; for me, it is an inspiring tool for engaging with the viewer. However, storytelling does not suit every project. Complex projects often require philosophical texts and can be very difficult for an unprepared audience to understand. I have projects that incorporate storytelling, which are usually documentary projects, but I also have projects with fairly complex texts. TPL: What has been your most significant challenge as a photographer, and how did you overcome it? How did this experience shape your understanding of resilience in the creative process, and what lessons did you carry forward into your future work? ANNA: If we talk about the specifics of the work, then the work of a photographer like me is always about working with people. It’s important to spend even more time communicating with the subjects than on the actual shooting. I am naturally impatient, and I find it challenging to demonstrate patience and understanding that the subjects need time to get accustomed to the process. However, I am grounding myself more and more and allowing the process to flow at its own pace. As a result, I take great pride in myself because the response from the subjects is so much greater when there is no pressure involved. TPL: Looking back on your journey as a photographer, are there particular influences — be it other photographers, artistic movements, or life experiences — that you can pinpoint as having a profound impact on your style and approach? How have these influences evolved over time? ANNA: Photography has always been an inseparable part of my life, but I was only able to fully dedicate myself to it in adulthood, when the youthful maximalism that divided the world into black and white faded away. I realized that judgments about anyone or anything can be superficial, and only patient study of a phenomenon or object can lead to truly inspiring discoveries. When it comes to the influence of other photographers or artists on me, there are many, but among artistic movements, the philosophy of constructivism has had the greatest impact on me. TPL: In a world increasingly dominated by digital imagery and social media, how do you maintain a sense of authenticity and personal expression in your work? What strategies do you employ to ensure your photography remains true to your vision amidst external pressures? ANNA: There are indeed a vast number of digital images, and you are right that their purpose increasingly boils down to quickly conveying information. On the other hand, the artist's task is the exact opposite. Art is primarily about contemplation and reflection. Yes, art can utilize digital imagery, but it differs in its purpose, which in turn leaves an imprint on the visual itself. This is a very noticeable distinction. For now, I view artificial intelligence as a technical tool that expands the possibilities for the creator. TPL: As you look toward the future of your artistic practice, what types of projects are you currently considering, and how do you envision these endeavors evolving over the next 3 to 5 years? Are there specific themes or issues you feel compelled to explore more deeply, and how do you see your style or approach transforming as you continue to grow as an artist? ANNA: I am drawn to two types of projects: fine art projects and documentary projects. Currently, I am working on an art project about the theme of Anthropomorphic Nature, while simultaneously developing a documentary conceptual project about discarded items. I have enrolled in a two-year program at an institute of contemporary art. I believe I need to enrich my knowledge in philosophy and contemporary art in order to create conceptually more complex projects. I think that my studies will change my approach and possibly my style. We'll see where this path takes me. TPL: When you’re not behind the camera, what fun adventures or creative pursuits would we find Anna diving into, and how do they add a splash of inspiration to your photography? ANNA: I love traveling and draw inspiration from it. I also enjoy cooking. All of these activities allow me to reflect, while travels enrich me with new visuals. As an interdisciplinary artist, Anna Tut seamlessly blends photography with traditional craft techniques, such as embroidery, appliqué, and collage, creating multifaceted works that transcend the limits of a single medium. Her project “Women” offers a thought-provoking exploration of femininity, individual identity, and the collective experiences of women today. Through carefully composed images, Anna addresses the tensions between personal freedom and societal expectations, crafting portraits that speak to both strength and vulnerability. Anna is dedicated to using photography for aesthetic expression. Each image is designed to provoke thought, challenge perceptions, and spark conversations about the issues she tackles — whether it's gender identity, societal pressures, or emotional resilience. Her work is both a visual and intellectual experience, layered with meaning and imbued with social commentary. Looking ahead, Anna is poised to further push the boundaries of her medium. With plans to expand her fine art and documentary projects, and a growing interest in the philosophical dimensions of contemporary art, Anna is committed to evolving her practice. Her continued focus on deep thematic explorations ensures that she remains a compelling voice in the world of photography, one that encourages viewers to look beyond the surface and engage with the stories her work tells. VIEW ANNA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

OBSERVING LIFE UNFOLDING For Pepijn Thijsse, photography gives him the chance to capture what he is thinking and seeing. OBSERVING LIFE UNFOLDING June 15, 2020 INTERVIEW PHOTOGRAPHY Pepijn Thijsse INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Pepijn Thijsse is a traveler who, born in The Netherlands and having grown up in the sunshine city of Brisbane, Australia, has now ventured overseas on a one-year mid-career break to focus on his passion for photography and exploration. But more than that, he has set out to capture the world he sees and the human condition he experiences through street photography, an undertaking that gives him insight into different cultures and societies in all their diverse forms. His is a story of curiosity, creativity, and a never-ending mission to observe and document the world around him. Join us as we explore Pepijn’s story and find out what inspires his unique style of photography. “From quite a young age I developed an interest in photography, while my parents took me and my sister (11 and 9 years old) travelling around the world for a year in the late 1980s. I really was an explorer back then and wanted to capture what I saw but at that age in those days, getting a camera wasn't as easy as now. When I was 17, I bought a used Canon film camera with macro filters and was blown away by the insect world I found in the backyard (I still love macro). I took the camera on some solo trips in my early 20s and became obsessed with capturing 'cultural life' in foreign countries. I’m also fascinated by this ridiculously diverse planet we live on, which means I like too many types of photography, from insect macro to sweeping landscapes and of course, my favourite, street photography.” IN CONVERSATION WITH PEPIJN THIJSSE THE PICTORIAL LIST: Pepijn, where do you find your inspiration to photograph? PEPIJN THIJSSE: Bit cliche but the world itself in all its bizarre and spectacularly diverse aspects is my inspiration. This is the reason I struggle to settle on one style of photography and end up dabbling in many - macro, landscape, nature, street, abstract, love them all. TPL: Do you have a quote or saying that resonates with you the most? PT: That's a good question and I can't think of a quote off the top off my head so had to do some digging...all I came up with is Monty Python's tune of "always look on the bright side of life" - this is because I inevitably tend to drift toward the negative (perhaps reflected in my photography) and I must always remind myself to step back and take a balanced view. TPL: Where is your favourite place(s) to photograph? PT: Anywhere I haven't been before, especially if it's culturally distinct from what I'm used to or seen before. That immediately gives me energy, motivation, and joy. I guess it takes me back to that 'exploratory' side I had as a kid; obviously something that remains to this day and hopefully until my last. Favourite places so far - the older suburbs of Istanbul, Egypt, Italy and Ukraine. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PT: Very difficult question because if I'm honest I can barely name any of the 'great' photographers (a disgrace I know) except one that I like a lot, Fan Ho. In terms of artists, Rembrandt's use of light is amazing, those paintings seen in the flesh really do beggar belief - true mastery. I was heavily inspired by a bunch of mostly amateur street/documentary photographers I discovered on Flickr around 2015. After searching, I know one is Sohail Karmani (think he's a professional). More recently, Instagram is so full of talent it's almost overwhelming - I need to ignore it sometimes so I can focus! TPL: Has your style of photographing changed since you first started? PT: It has since it's covered quite a span of years and genres but when I think about it, fundamentally it remains quite similar in terms of the scenes I look for and the process. However, now I go out with particular images in mind or spend quite some time at a scene, previously it was far more random. Always look on the bright side of life - Monty Python. I inevitably tend to drift toward the negative (perhaps reflected in my photography) and I must always remind myself to step back and take a balanced view. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? PT: Depends on what your vision is but generally I would say no equipment barely matters...to an extent haha. I think it does play a role in my street photography because I like to shoot in very low light and sometimes with a very shallow depth of field. Here equipment does start to make a difference especially if you (like me) review your photos over-critically on a large screen. I cannot do what I do with a smartphone, I can recall just a few keepers from my phone. For someone just starting out, grab the camera and kit zoom lens you can easily afford and that 'feels right' in the hand (size, ergonomics) and spend a while shooting with that until you find the focal length you seem to prefer. Then maybe buy a prime lens, I'm a big fan of primes as they really help hone your compositional skills, a critical element of any good photo. Any camera made in the last 10 years is highly capable and likely beyond the technical requirements for street. And watch YouTube tutorials, in moderation! TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone in your genre? PT: I think patience and commitment is central. Taking great photos (the output), like anything, requires a level of effort (input), a process of learning as well as a lot of trial and error. I think it's proportional, if you really commit and put in the miles you will see results. Understanding of gear plays a far, far smaller role. My advice is to try allocate a minimum amount of time per week to go out and shoot, irrespective of weather etc. In fact my experience is that it's the times I thought weren't worth going out for (e.g. raining) that yielded the best results. Maybe each time choose a theme like "get a close up of someone in a window" so you can concentrate. And spend some (lesser) time learning from others through YouTube etc, there is so much useful material out there it's ridiculous. TPL: Have you ever been involved in the artistic world before photography? PT: I have because my mum is an artist (painter) and so growing up art was always in the family. I think other forms of art are definitely worth looking at in terms of what they might offer your photography, particularly in the use colour and composition. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PT: Unfortunately there isn't a grand plan or indeed much structure to my photography so no projects as such, other than the broadest ongoing project of capturing life in all it's bizarre forms as I see it. TPL: "If I wasn't photographing what would I be doing?... PT: Mountain biking most likely." Pepijn Thijsse’s journey through photography is grounded in observation, curiosity, and a desire to connect with the world on his own terms. Whether navigating unfamiliar streets or pausing to examine the quiet details of daily life, his work resists categorisation, reflecting a fluid engagement with both subject and setting. Though he doesn’t follow a strict path or defined project, there is a coherence in his practice—one shaped by years of exploration and a consistent drive to document the world as it unfolds. In conversation, as in his photography, Pepijn is thoughtful, self-aware, and refreshingly unpretentious. His images speak to a fascination with the ordinary and the unexpected alike—a visual journal of a life spent looking. VIEW PEPIJN'S PORTFOLIO View Pepijn's website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. FLUX Exploring Form, Luminescence, and Motion March 2, 2025 INTERVIEW PHOTOGRAPHY Amy Newton-McConnel INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Amy Newton-McConnel’s photography reinterprets light and movement, constructing a visual dialogue that shifts between the tangible and the abstract. Through the technique of Intentional Camera Movement (ICM), Amy disrupts conventional perspectives, using the camera as a tool for spontaneity and experimentation. Rather than capturing static moments, her work embraces fluidity, where motion dictates form, and light serves as both subject and medium. By dissolving recognizable structures, she invites the viewer to engage with images that exist beyond the constraints of literal interpretation, prompting a reconsideration of how movement shapes perception. Amy’s work has been exhibited in galleries throughout Arizona and is part of the permanent collection at Rosie’s House: A Music Academy for Children in Phoenix. Her photography has been featured previously here on The Pictorial List, and in numerous digital and print publications, including Hintology, ICM Photography Magazine, Spectaculum Magazine, Spotlight Contemporary Art Magazine, and Women United Art Magazine. These platforms have recognized her ability to push the boundaries of photographic storytelling through abstraction. Her series, ‘Flux: Exploring Form, Luminescence, and Motion’, examines the interplay of structured precision and organic unpredictability. Through controlled camera movements, she captures ephemeral moments, composing images that evoke rhythm and energy. Amy’s approach to ICM is grounded in a study of lines, textures, and colors, reshaping visual perception by merging movement and stillness into a unified composition. The blurred contours and layered tonalities in these images suggest an evolving transformation, capturing the fluid nature of time and space. By integrating ICM techniques with a focused conceptual framework, Amy constructs compositions that extend beyond the frame. Her work does not seek to depict reality but rather to reinterpret it, offering an alternative lens through which to engage with the transient nature of experience. In this interview, she discusses her artistic process, the conceptual underpinnings of ‘Flux: Exploring Form, Luminescence, and Motion’, and the role of abstraction in contemporary photography. “‘Flux’ began as an exploration of movement and transformation, without a rigid narrative in mind. I was drawn to the way shifting forms and layered textures could evoke different emotions and interpretations. As the project evolved, I found that themes of energy, fluidity, and impermanence naturally emerged, shaping the direction of the work. It was a balance between intentionality and discovery — allowing the process to guide me while remaining attuned to the emotional resonance of each piece.” IN CONVERSATION WITH AMY NEWTON-MCCONNELL THE PICTORIAL LIST: How do you define the boundary between control and unpredictability in Flux? Do you see motion as a tool to shape the image, or does it become a subject in itself? AMY: The boundary between control and unpredictability is fluid—I guide the motion, but I also embrace the unexpected. Motion is both a tool and a subject; I use it to sculpt the image, yet it also takes on a life of its own, shaping the final composition in ways I can’t fully anticipate. The interplay between these elements is what makes the work dynamic—it's about finding harmony in chaos and allowing the movement to speak for itself. TPL: In this series, how do you determine the degree of abstraction? Were there moments where the original subject remained visible, or was total transformation your goal? AMY: Total transformation was my goal in this series. I wanted to push the original subject beyond recognition, allowing form, color, and movement to take precedence over representation. The process was about dissolving the familiar and creating something entirely new — an image that exists in its own space, independent of its source. By embracing abstraction to this degree, I aimed to evoke emotion and interpretation without the constraints of a recognizable subject. TPL: ‘Flux’ suggests a dialogue between order and chaos — do you find yourself drawn more to one aspect over the other when composing your images? AMY: I find myself drawn to discovering order within the chaos. While the process of creating ‘Flux’ embraces unpredictability, my instinct is to seek structure within that movement — whether through composition, balance, or the interplay of light and form. The tension between these elements is what makes the work compelling to me. Chaos provides energy and spontaneity, but finding moments of harmony within it is what ultimately shapes the final image. 'Distended', © Amy Newton-McConnel 'Drift', © Amy Newton-McConnel 'Convergence', © Amy Newton-McConnel 'Curvature', © Amy Newton-McConnel 'Conic', © Amy Newton-McConnel 'Celestial', © Amy Newton-McConnel 'Bounce', © Amy Newton-McConnel 'Bloom', © Amy Newton-McConnel 'Passage', © Amy Newton-McConnel 'Mosaic', © Amy Newton-McConnel TPL: Light is a crucial element in ‘Flux’. How do you manipulate light sources to achieve the sense of depth and radiance in your images? AMY: I don’t manipulate the light source itself; instead, I manipulate the direction of light through my camera using intentional camera movement. By shifting the camera during exposure, I reshape how light interacts with the scene, creating a sense of depth and radiance. This technique allows me to stretch, blur, and layer light in ways that transform the original subject, emphasizing motion and energy rather than fixed form. TPL: Are there particular types of light—natural, artificial, or mixed—that lend themselves best to the visual language of ‘Flux’? AMY: For ‘Flux’, I worked exclusively with artificial light in an outdoor environment during the evening, where natural light was minimal. Artificial light lends itself well to the visual language of the series because of its intensity, directionality, and the way it interacts with movement. The contrast between light and darkness enhances the sense of depth and fluidity, allowing me to sculpt the image through intentional camera movement. This controlled yet dynamic interplay of light helps create the transformation I seek in the work. I aim to evoke emotion and interpretation without the constraints of a recognizable subject. TPL: When working on ‘Flux’, did you have a consistent technical approach, or was each image a result of experimentation and discovery? AMY: Every image in ‘Flux’ was the result of experimentation and discovery. Each movement of the camera introduced new possibilities, and I embraced the unpredictability of the results. This approach kept the work dynamic, allowing me to respond to the light, motion, and composition in the moment rather than adhering to a predetermined outcome. TPL: Were there any unexpected technical challenges in translating your vision into final images? How did you overcome them? AMY: There were no technical challenges in translating my vision into the final images—only the unpredictability of the outcome. Since ‘Flux’ was built on experimentation, I embraced the lack of control as part of the process. Rather than seeing unpredictability as an obstacle, I allowed it to guide the work, shaping each image in ways I couldn’t fully anticipate. TPL: Abstraction allows for multiple interpretations. Do you prefer viewers to approach your work with an open perspective, or are there specific narratives you hope they uncover? AMY: I want viewers to approach my work with an open mind and create their own stories. Abstraction allows for a wide range of interpretations, and I believe that the beauty of ‘Flux’ lies in its ability to evoke different emotions and thoughts in each person. Rather than guiding the viewer toward a specific narrative, I want the images to be a personal experience, allowing each individual to bring their own perspective to the work. 'Flutter'. © Amy Newton-McConnel 'Entanglement', © Amy Newton-McConnel 'Electromagnetic', © Amy Newton-McConnel 'Veined Glow', © Amy Newton-McConnel 'Whirlwind', © Amy Newton-McConnel 'Undulation', © Amy Newton-McConnel 'Symphony', © Amy Newton-McConnel 'Rebound', © Amy Newton-McConnel 'Turbulence', © Amy Newton-McConnel 'Tendril', © Amy Newton-McConnel TPL: Your work has a painterly quality, reminiscent of Abstract Expressionism. Are there particular painters, photographers, or artistic movements that inspire your approach? AMY: I am inspired by all forms of abstract art, particularly Cubism, Expressionism, and Abstract Expressionism. These movements' focus on breaking down form and conveying emotion through abstract means resonates deeply with my own approach. I draw from their exploration of perspective, color, and emotional depth, which I incorporate into my photographic process. The raw energy and freedom found in these artistic styles influence how I capture movement and transformation. TPL: How do you prepare for a shoot? Do you pre-visualize a composition, or do you let intuition guide your movements? AMY: I don’t begin with a fixed composition in mind. Instead, I experiment with different camera movements and let my intuition guide me through the process. Each shoot is a fluid exploration, where I respond to the light, motion, and energy in the moment. This approach allows for spontaneity and discovery, ensuring that each image evolves organically rather than being constrained by a predetermined vision. ‘Flux’ is not just about capturing reality but about transforming it, using intentional camera movement to dissolve familiar forms and create images that exist independently of their source. Rather than seeking complete control, Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. For her, photography is a deeply intuitive process — one that lets her lose herself in the rhythm of movement, embrace uncertainty, and discover unexpected moments. VIEW AMY'S PORTFOLIO Read Pictorial Story "Multiplicity" >>> Website >>> Instagram >>> read more interviews >>> IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. 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. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city.

RESONANCE OF HER REALISM Lana Eileen's images fuses abstract elements with fine details, combining seemingly disparate fragments to evoke a sense of magic realism. RESONANCE OF HER REALISM July 5, 2021 INTERVIEW PHOTOGRAPHY Lana Eileen INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The power of art lies in its ability to evoke emotion and transcend rational thought. Lana Eileen is an artist who embraces this mystery and uses her art to create an ethereal world of beauty and enchantment, drawing inspiration from her own experiences to create unique works of art. Currently a student of the School of Creative Arts and Media in Tasmania, Eileen has explored far and wide in search of creative inspiration, from artist residencies in remote Iceland and the island of Hrísy near the Arctic Circle, to New Zealand. Her works combine abstract elements with fine details to create a sense of surrealism, often employing self-portraiture as a means of expressing her inner thoughts and feelings. Through her photography, Eileen invites us to explore the intangible realm of our own minds, inspiring us to look beyond the obvious and discover something new about ourselves and our world. “There’s a physicality to self-portraiture that I love. It feels performative, almost like dancing, and there is a lot of movement involved. I love self-portraiture because it has an intimacy to it, and it is inherently personal.” IN CONVERSATION WITH LANA EILEEN THE PICTORIAL LIST: Lana please tell us about yourself. You are also a musician, tell us a bit about that. What was your journey into photography? LANA EILEEN: I was born in Australia, and I have just moved back here after having lived in New Zealand for a long time. I am now based in Tasmania, which is where I lived when I was very young. Working as a musician is what I have been doing for the majority of my life. When I started modelling for professional photographers on press shots for my music, I became interested in being a photographer myself. In the years since then, I’ve been continually experimenting, but it’s only recently that I’ve become very passionate about photography and started to take it seriously. TPL: Much of your work is self-portraiture. Is the process of photographing yourself different to that of photographing other people? Do you have a process of preparation? LE: It’s different in the sense that photographing other people allows for more technical control, whereas self-portraiture can sometimes be a gamble. But there’s a physicality to self-portraiture that I love. It feels performative, almost like dancing, and there is a lot of movement involved. I love self-portraiture because it has an intimacy to it, and it is inherently personal. TPL: Your photographs have a romantic aesthetic mixed with a tangible darkness that has a strong presence to nature. How would you describe your work and how do you choose your themes and communicate this to the viewer? LE: I am interested in moments that capture a sense of intimacy, focusing on gestures, movement, physical form. I love photographing hands, or faces partially obscured. Diane Arbus said a photograph is a secret about a secret — the more it tells you, the less you know — and that quote reflects how I feel about my work. I appreciate the connection between the human body and the natural landscape, investigating our place in the world and how we are inextricably tied to the earth, and I am always seeking to explore that concept. TPL: In 2019, you undertook an artist residency in remote Iceland. Tell us more about how this came about, what was it like, and what did you take away from this experience? LE: I had been wanting to complete a residency in Iceland for many years, as I was aware of several programs operating there, and in 2019 I finally applied and was accepted. I spent a month living in a tiny village in a remote corner of east Iceland, covered in snow, working at the studio each day. It was sometimes difficult, as the environment was quite raw and isolating, but I also loved it and found it to be life changing. There were artists from all over the world working there at the same time. I would love to return one day. TPL: Where has been your most favourite place to photograph? LE: I recently took a series of photographs in a lake in rural Australia just before sunset for my series ‘The Language of Water’, where I walked out into the water, and it was one of those special shoots when everything is just right in terms of lighting and atmosphere. That was definitely one of my favourite moments. I also love experimenting, taking self-portraits underwater or under glass. I appreciate the connection between the human body and the natural landscape, investigating our place in the world and how we are inextricably tied to the earth, and I am always seeking to explore that concept. TPL: Do you have any favourite artists or photographers you would like to share with us? LE: Julia Margaret Cameron, Diane Arbus, Francesca Woodman. Polish photographer Laura Makabresku is also a very big influence on my work. 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? LE: As someone who is more creatively driven than technically minded, the equipment I use feels secondary to things like concept and atmosphere, but it’s also undeniable that the type of camera I shoot with has a big impact on the result. Currently I am using a Canon 600D, a Canon 5D MK III, and a Nikon F80. I am very excited by the possibilities associated with using film, and that’s my focus at the moment. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? LE: I want to keep exhibiting my work, publish a photo book, and learn as much as possible. I plan to move to Europe when I graduate, and exhibit and work over there. I can see photography gaining more prominence in my work as an artist in the years to come. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LE: I am busy creating work for an exhibition at Black Cat Gallery in Melbourne in early 2022 that expands on my series ‘The Language of Water’, as well as a smaller exhibition of my photography at Parlour Gallery in Hobart this September, and I am also directing a lot of my focus towards shooting on film. TPL: When I am not out photographing, I (like to)… LE: Write music for my upcoming album, sing, play the piano and other instruments, perform at shows, make handmade jewellery and herbal skincare, read, cook, try to write a novel, go on road trips, or simply enjoy being out in nature." Lana's photography is a unique work of art that is both creative and beautiful. By blending abstract elements with fine details, she captures moments that draw us into a world of magic realism. Her work is truly inspiring. If you want to experience a unique visual journey, then follow Lana on her creative journey today. Visit the links below to see her portfolio and connect with her on social media. Don't miss this opportunity to experience a captivating world through the lens of Lana Eileen. 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