INTERVIEW CONNECTED DICHOTOMIES July 5, 2024 INTERVIEW PHOTOGRAPHY Tatyana Mazok INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Emerging from the vibrant urban fabric of Minsk in Belarus, photographer Tatyana Mazok captures the essence of existence through her lens. With a rich academic background at Belarusian State Economic University, Tatyana tempered her mind with discipline, later infusing her artistic work with precision and passion. It was through photography that she discovered her authentic voice, a confluence of her diverse interests and her intrinsic identity. In 2019, under the illuminating mentorship of Elena Sukhoveyeva and Viktor Khmel, Tatyana’s creative flame was kindled, propelling her on a journey of exploration through the author’s school. Subsequent years saw her delve deeper into the nuances of the craft, navigating the realms of visual history at the Fojo: Media Institute Linnaus University and honing her cinematic eye at the esteemed ‘Marusina Masterskaya.’ Tatyana transcends mere technical skill. Her photography embodies the ability to capture the ephemeral, immortalizing the beauty of life’s transient moments. In her own words, “I shoot what I love and what interests me at a particular moment. And I get satisfaction from capturing the moment.” In her series “Connections,” Tatyana presents an introspective journey, using evocative diptychs to explore the complex web of relationships that shape our existence. Her lens thoughtfully transforms everyday moments into timeless reflections of beauty and self-discovery. Authenticity and emotional resonance are the cornerstones of Tatyana’s photographic philosophy. Her intuitive approach fosters a depth of immediacy and honesty, drawing viewers into her experiential narrative. Throughout the series, Tatyana deftly captures the ceaseless flux of the world around her. From the ever-shifting landscape of her urban surroundings to the subtle nuances of human interaction, each image serves as a testament to the ephemeral nature of existence. Yet, amidst the perpetual tide of change, Tatyana finds solace in the unchanging beauty of the natural world. As she eloquently observes, “The photos remain unchanged: family, nature, city and myself.” Central to the thematic fabric of “Connections” is Tatyana’s exploration of the myriad connections that bind us to one another and to the world at large. Tatyana skillfully reveals the hidden patterns of interdependence, sparking contemplation of our profound interconnectedness. Whether capturing the delicate symmetry of a family unit or the symbiotic relationship between humanity and the environment, Tatyana’s images serve as poignant reminders of our shared humanity. Beyond the visual allure, Tatyana’s work invites philosophical contemplation on memory and perception. She captures not just the world around her but also her personal experience within it, offering a unique perspective on the narrative flow of life and the resonance of visual storytelling. Join us in delving into Tatyana Mazok’s heartfelt photographic vision — a vision that extends beyond mere documentation, embodying the profound impact of photography as a conduit for introspection and discovery. “CONNECTIONS is a polysemantic name. On the one hand, there is an external visual connection between the photographs in each diptych: through color, compositional technique, and similarity. On the other hand, it is about the connection between human and nature, human and the city. And, how much they have in common. It’s also about my internal connection with each element in the photograph, because it’s all familiar to me: my beloved children, Belarusian nature, familiar roads and courtyards.” IN CONVERSATION WITH TATYANA MAZOK THE PICTORIAL LIST: Welcome to The Pictorial List Tatyana. What drew you to pursue photography as a form of artistic expression? TATYANA: At the very beginning of my journey, the technical part of photography was very difficult and took a long time for me. I slowed down and didn’t think about artistic language at all. I wanted to reveal all the technical secrets and, by pressing the camera button, produce beautiful masterpieces, filming everything. It was a great practical experience that led me to understand that photography can speak without words, speak for me, broadcast my inner feelings of the world around me. TPL: What role do diptychs play in conveying the interconnectedness of life in your work? How do you approach the composition and presentation of your diptychs to convey the connections you seek to highlight? TATYANA: Life and creativity are inseparable for me. In the diptychs there is an intensification of life. Moments from it. Let's just say, life twice: here it is life from frequent traces of birds on fresh snow and here is how the first rays of the sun covered a young face with freckles. They seem to be static objects, but they are a recording of what is happening in my life. The process of creating diptychs is always a unique event. It happens that one of the parts waits for its other half for two or three years. I don't deliberately shoot a frame in tandem with an existing one. I just take a photo of something, and then I scroll through it in my head and remember that once upon a time I already took a photo that would look incredibly good with it. Sometimes I make mistakes, but most of the time this exercise is successful. Can you imagine how great it is to bring together different years and different places? Of course, I pay attention to the composition of both parts. To enhance the effect, sometimes you have to crop the original frame. TPL: How do you incorporate elements of emotion and storytelling into your photographs to evoke a deeper connection with viewers? What emotions or messages do you hope viewers experience or take away from your photographs? TATYANA: I achieve contact with the viewer by close framing and large details. It turns out to be a kind of presence effect. The project is not difficult to perceive, visually calm in color, and it seems to me that every viewer will find in it something from their everyday life, memories from yesterday or today. I would also like the project to remind everyone of the beauty of every moment, of the value of our everyday life. TPL: How do you select the subjects or scenes that you capture in your photographs? What role does personal reflection play in your photography process, particularly in relation to your own connection to the subjects you photograph? TATYANA: Most often, my attention is attracted by lines, geometry, a fallen shadow, or my internal problem. I can walk and notice a fallen leaf, and now it’s already in the frame. I haven't photographed everything for a long time. And at different periods of my life my focus of attention changes. This gives food for thought - what is most important to me now. My inner experiences are transferred into photography. This changes the topic of research, working through a photograph of one’s feelings. This also affects the choice of color combinations in the frame. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? TATYANA: I had the experience of taking an amazing “Film Frame” course, where students watched films of one famous director every week, for example, “Kurosawa.” We analyzed the director’s visual language, his distinctive techniques, for what purposes and emotions they are applicable. And then they filmed their shoot using that language. Afterwards, I always thought about what I wanted to say with my shot, and what color, light, and compositional technique would help me with this. I also began to look at photographs of other authors, analyzing the author’s language. My photography serves as a documentation of my life. TPL: In what ways does your photography serve as a form of documentation or storytelling of your life and experiences? TATYANA: In general, all my photography is a document of my life. Whether I shoot self-portraits or my surroundings, this is all my little story. I show up in my photographs. You could say it's a photo diary. And, if they look back, this woman’s diary will talk about her mood, outlook on life, favorite color, some internal conflicts, joyful moments. And sometimes this diary has blank pages. TPL: Can you share any insights or lessons you've learned about yourself or the world through the process of creating “CONNECTIONS”? TATYANA: In the process of selecting photographs for the “Connections” project, I once again reminded myself of my inspiration and my content. Reviewing several years of archives, I have determined that my eye and my camera focus on what I love. I am filled with my family, the city I live in, trips to nature and myself. TPL: What drew you to study under Elena Sukhoveyeva and Viktor Khmel at the author’s school, and how did that experience influence your photography? And, how has completing courses such as ‘Photo History’ at Fojo: Media Institute Linnaus University shaped your understanding and approach to photography? TATYANA: At a certain point, I felt limited in my knowledge of photography. And how funny it is for me now, it seemed to me that I already knew so much. But I didn't know where to move next. In the direction. I was drawn to art, but there seemed to be a gap between us. I understood that I couldn’t handle self-education on my own; I needed a guide. In my search for a teacher, in reading reviews, in correspondence with graduates of Elena and Victor, I realized that this was what I needed. But I didn’t know that this would be the most difficult training, full of information, lectures, and deep immersion in project photography. A new, different world opened up for me, new names in the world of photography. Unfortunately, for a number of reasons, I was never able to complete my graduation project at this school. The knowledge gained here was structured in my head and rethought over the next three years. We can say that they were the basis for my design thinking and are still sprouting. The “Photo History” course, on the contrary, turned out to be easy for me to understand, but also deep in knowledge. A lot of material was filmed. I learned to speak through a series of photographs. My personnel selection process has changed, my view of topics that are of interest to society and other people, but not previously relevant to me, has expanded. But the main takeaway is to always choose what is important to you. Then working on history will be a pleasure. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TATYANA: I am firmly convinced that everything I saw and heard earlier in one way or another influenced me as a photographer. Something is filtered, something is analyzed and leaves an imprint. But I cannot pinpoint the authors who shaped my approach. I can name who I'm currently inspired by. Among the photographers are Jaume Llorens with poetic images of nature, Saul Leiter with his irregular framing, negative space, amazing color, Ilina Vicktoria - her portraits fascinate with light, contrast and deep emotion. I also really love the visual techniques of director Paolo Sorrentino. TPL: What do you hope to achieve with your photography in terms of personal growth? TATYANA: Great question! And of course I will be honest. I dream that my photograph will become part of the collection of MOMA, the Hermitage, and the European House of Photography in Paris. I dream of becoming one of the hundred most famous female photographers in the world. Loud, but that's how it is! TPL: When you are not creating your art through your photography, what else could we find Tatyana doing? TATYANA: I try to find time for everything that is dear to me. I used to sew a lot, embroider, and make jewelry. Now I read more, go to theaters, museums and of course spend time with my large family. As we reach the culmination of our exploration into the work of Tatyana Mazok, it becomes evident that her photography is not just an art form, but a vibrant tapestry interwoven with threads of life itself. With each photograph, Tatyana invites us into her world, offering a glimpse into the raw and unfiltered essence of being that defines her subject matter. Tatyana’s unique talent lies in her ability to transform life’s chaos into moments of serene clarity. Through “Connections,” Tatyana has not only shared her vision but also challenged us to see life through a different lens — one that recognizes the intertwining narratives and shared experiences that unite us. Her work is a compelling reminder of the beauty and complexity of the world we inhabit, and the endless possibilities that lie in the simple act of pressing a shutter. In closing, Tatyana Mazok's artistic journey is a testament to the enduring power of photography to move, to provoke, and to inspire. Her images remain etched in our minds, echoing the timeless dance of light and shadow, and inviting us to pause, reflect, and connect with the world in profound ways. Let us carry forward the message embodied in her work — that in the fleeting moments of life, there is a depth of connection and beauty waiting to be discovered. Thank you, Tatyana, for opening our eyes to the enduring connections that bind us all. VIEW TATYANA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences.

What I see is what you get. MARIËTTE AERNOUDTS What I see is what you get. LOCATION Raamsdonksveer, NETHERLANDS CAMERA/S Canon 5D Mark III and Fuji X-T3 WEBSITE https://www.marietteaernoudts.nl @MARIETTEAERNOUDTS FEATURES // Breaks From Reality

INTERVIEW UNNOTICED MOMENTS April 1, 2021 INTERVIEW PHOTOGRAPHY Pooja Yadav INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Pooja Yadav is a young budding scientist with a passion for exploring and capturing the beauty of the streets. Armed with her mobile phone camera, she traverses around her hometown in India, taking pictures of the everyday lives of people in her vicinity. With her photographs, Pooja is able to express her own thoughts and feelings as she connects the environment to her subjects. Her work offers us a unique window into her life and India through her creative lens. “Seeing the Indian streets amazes you with the chaos and drama happening around you. I tend to click everywhere whenever I see the magical moments. But Old Delhi is one of the best places where magic occurs every second of every day.” IN CONVERSATION WITH POOJA YADAV THE PICTORIAL LIST: Pooja please tell us about yourself. How did you become interested in photography? POOJA YADAV: I was born in a village of Haryana in Rewari district, soon after my birth my family got the opportunity to live in Kashmir as my father is in B.S.F and after that we got to live in many other states as well. We again moved to Rewari in 2017. I graduated from Delhi University in 2020 and was admitted in to IIT Bombay for my masters programme in Biotechnology. Due to what is happening right now, I’m at my home in Rewari and very eager to go back to IIT Bombay campus. During my graduation I started to observe my surroundings a lot then captured them and started posting on my Instagram handle and my pictures were loved by my friends and they motivated me to continue this. TPL: Where do you find your inspiration to photograph? PY: I find my inspiration from the chaos going on the street. Those unnoticed moments. TPL: What is it that you enjoy about street photography. What happens when you walk the streets with your camera? Explain your technique? PY: I love to roam and wander and street photography gives me the opportunity to roam around a lot. And I am basically a phone photographer so I always keep my phone camera on. I don’t use any specific techniques I just find the specific moments that are needed to be captured. So far I have not experienced any negative encounter. TPL: You use your mobile phone to photograph with. Does the equipment you use help you in achieving your vision in your photography? PY: I won’t deny this that there are some limitations with a mobile when photographing but it never has stopped or hindered my vision in photography. In fact, it gives me a different perspective to see my street. And I agree on this completely that this is more important. Explore and practice with whatever resource you have. PY: I like to express the freedom of my mind and thoughts through my pictures connecting the surrounding with my subjects. 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 'come to you', or is it both? PY: Sometimes when I go to specific location like Yamuna, I keep some concept in mind. Otherwise mostly when I walk, I see my surroundings then a picture pops up in my mind, then I click that picture. And sometimes I tend to miss a moment and couldn’t capture it, but I always keep that picture I imagined in my mind. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? PY: My goals are simple...to explore more and more and share that the magic happens in every second of every day that I am out on the street. And in five years I would like to see myself as budding scientist with lots and lots of travelling experience. TPL: "When I am not out photographing, I (like to)… PY: I like to eat good food and watch Netflix and yes can’t skip my studies. Pooja Yadav's work is a testament to the power of art and the beauty of everyday life. Through her photographs, she is able to capture the beauty and vitality of her hometown in India, allowing us to appreciate the lives of everyday people. Her unique perspective and creative use of her mobile phone camera offer a special insight into her own thoughts and feelings. VIEW POOJA'S PORTFOLIO Instagram >>> read more interviews >>> 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. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences.

INTERVIEW MOMENTS FROM THE STREET June 1, 2022 INTERVIEW PHOTOGRAPHY Jonas Welten INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the moment he picked up a camera, Jonas Welten has been captivated by the art of street photography. With an eye for beauty and inspired by the human soul, he strives to capture the essence of the anonymous person, seeking to uncover a deeper, unspoken truth. As an educator, part-time student of psychotherapy, and autodidact photographer, Jonas is determined to pay homage to the masters who have come before him while expanding the boundaries of this incredible art form. Growing up with artistic parents, photography has been a passion of his for as long as he can remember. Now, after three years of honing his craft, Jonas is ready to share the unique vision of the world he has discovered through his lens. “I make these photos primarily for myself. It brings me joy and I feel honored if someone likes them, but that isn't my main focus. I am driven by the possibilities of taking photographs, the surprise of discovering - or stumbling over - new unexpected situations.” IN CONVERSATION WITH JONAS WELTEN THE PICTORIAL LIST: Jonas please tell us about yourself. What draws you to photography and art? How did your journey into photography begin? JONAS WELTEN: I was born and raised in Salzburg, Austria (Mozart was born here!😉) I still live in Salzburg, with my beautiful girlfriend. I studied educational science and am currently working in an elementary school as kind of a social worker. I also study Psychotherapy, and if everything works out I will be working as a counsellor in a few years. My parents, and especially my mother was and still is a great art enthusiast, with the focus on visual arts and classical music. My father, who has been retired for quite some time now, was a filmmaker. I’m very much a movie buff, from rather mainstream movies to abstract art house films and the classics. I used to make photographs when I was in my teens/early twenties, I also took part in a photo workshop, but I didn’t really get deep into photography until about 3 years ago, and the technical side of taking photos never interested me, I’m not good at it, and, for my type of photography I find it not that important. Maybe I’m just a little bit lazy, and trying to find an excuse, for not learning the tech stuff 😁. Anyway, I then got an old DSLR from a friend and experimented, inspired by some artists on Instagram, mostly street photography stuff. That’s how my journey into photography began. And I’m still very enthusiastic about the art. TPL: How have the streets and culture you capture influence your photography? JW: I was - and still am - a big rap and hip hop fan, mostly mid 90s USA stuff. As you may know rap originated from the streets, and I mostly like the rough, gritty stuff. Also, the other genres never really do it for me, for example portrait, wild life, landscape or wedding photography. I started with my cell phone, and especially loved two things about that - I always carry it with me, so I'm ready to shoot always; and, important for street photography, it's subtle and people don't really recognise being photographed, thus you can get candid, “real life ” shots, where nothing is staged. A lot of unexpected situations and scenarios come up. Before you go out, you never know what's going to happen. I learned to appreciate the spontaneous, - as Cartier-Bresson said, the “decisive moment”. Like, for example in my photograph of the man carrying a porcelain mannequin head through the streets, and his matter of seconds of recognising the scene to taking the shot. He was walking by a jewellery store, with headless mannequins in the shop window. It is these juxtapositions that fire my passion for street photography. TPL: Talk to us about your project “Moments from the Street” that you have submitted? Where did the inspiration come from? What do you want the viewer to experience and take away with them? JW: A lot of inspiration came from famous street photographers which I have discovered and researched on the web. Masters of the genre like Cartier-Bresson, Winograd, John Free, Diane Arbus, Vivian Maier or Robert Frank and an absolute genius who I adore, Fan Ho. Also, I always get inspiration from the movies. When I first saw “Some Like It Hot” by the Austrian(!) Director Billy Wilder, it blew me away. It was the beginning of a wonderful, life long love (or should say friendship) quote from Casablanca. Later I discovered Directors like Gaspar Noe, Lars van Trier, Tarantino, the Austrian filmmaker Ulrich Seidl, and others who are close to the circle of street photography and rap. I find they have a very authentic, rough, but also visually interesting and experimental drive in cinematography in their work. So over the course of a year after I “seriously” began with photography, I also started to appreciate more abstract, or stylised, sometimes staged, cinematic photography. My photos range from rough, black and white street, to rather clean, experimental cinematic shots, where I sometimes love to go crazy in post production with popping colours or even collages. Fun fact- as a young adult, I wanted to go to Film School in Vienna, but, for one or the other reason I didn't follow through and became a social worker and educator instead. A profession I too love. TPL: What do you want the viewer to experience? JW: Kind of a difficult question, I make these photos primarily for myself. It brings me joy and I feel honored if someone likes them, but that isn't my main focus. I am driven by the possibilities of taking photographs, the surprise of discovering - or stumbling over - new unexpected situations. But I would be lying if I want to make good shots that may make viewers think, or ones who just look good from an aesthetic viewpoint. TPL: Do you have any favourite artists and photographers? JW: Henri Cartier-Bresson, Garry Winogrand, Ansel Adams, John Free...to mention some of the classic street photographers. From the new generation I very much like artists who make cinematic stuff like Oliver Takac, David Sark, Cody Klintworth, i.Dauyu, Sammy Soju, and my Austrian photography buddy Mark Daniel Prohaska. Sorry to anyone I forgot to mention, there are too many great photographers out there. Fun fact - as a young adult, I wanted to go to Film School in Vienna, but, for one or the other reason I didn't follow through and became a social worker and educator instead. A profession I too love. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? JW: Oliver Takac. His cinematic style, his use of light and shadow, and colour is amazing. TPL: When you are out photographing - how much of it is instinctual versus planned? JW: 99% instinct. 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? How much post-processing do you do? JW: Not really. I also shoot a lot with my iPhone, alongside my (old) Nikon D3000. As post-processing goes, it varies. I use Photoshop, but also mobile apps like Snapseed. For my street shots I usually don’t do a lot of post-processing, more for my abstract/cinematic shots; sometimes I go nuts, but usually I lay my focus on composition and a subject that catches my eye. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? JW: I would love to have some photographs exhibited, and of course I’d like to sell some stuff. But most of all I’d like to make a lot more pictures, that I consider as cool shots, shots I’m content about. I won’t quit my day job, the perfect situation would be being part time therapist/part time photography artist. But I won’t stop shooting if that doesn’t work out. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JW: No, as I don’t really plan my photography. But everybody reading this is very welcome to check out my Instagram. I’m also really happy about feedback. Of course I sell prints of all my photos, and am ambitious to connect with other photographers, to chat and maybe collaborate on projects. TPL: “When I am not out photographing, I (like to)... JW: Spend time with my girlfriend, my friends and family, watch movies, read books, and focus on my education.” Thank you for the opportunity. I’m honored to be published on your magazine. Much love! The world is an endlessly fascinating place, and Jonas Welten's photography captures the beauty, mystery, and humanity of the everyday. Through his lens, he has found a remarkable way to document personal stories of strangers, and to find and express the truth beyond what is seen on the surface. His eye for beauty and understanding of the human soul makes him a remarkable photographer. We invite you to explore more of Jonas' work to further appreciate the art of street photography. VIEW JONAS' PORTFOLIO Instagram >>> read more interviews >>> 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. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences.

I am currently doing my Bachelor of Business Administration in business analytics. My love for photography started in 2019. I am a learner in street photography and really just want people to connect with my photos. RITIK AGRAWAL I am currently doing my Bachelor of Business Administration in business analytics. My love for photography started in 2019. I am a learner in street photography and really just want people to connect with my photos. LOCATION Prayagraj INDIA CAMERA/S Nikon d3400 @RITIK.AGRAWAL.PHOTOGRAPHY FEATURES // My India

INTERVIEW CROSSINGS November 16, 2020 INTERVIEW PHOTOGRAPHY Tony Reddrop INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Life is full of unexpected turns, and for Tony Reddrop, that turn came in his late thirties. Tony had been working for years, and as he grew a little bit older and wiser, he decided to take a leap of faith. He left his job and embraced his newfound passion for photography. It was a blessing in disguise, and it has led Tony to great success and recognition. Tony's work has been featured in Australia, New Zealand and internationally in all types of media forms. His bodies of work are held in several institutions in Australia, and it has attracted the attention of many. His series of images CROSSINGS reflect the people of a small semi-rural town in New Zealand he lives in, and the light and shadow of his images tell a story of mystery and anonymity. The journey of Tony Reddrop is inspiring and will surely leave an impression. What he has been able to capture through his lens is truly remarkable and unique. From the hustle and bustle of a big city to the quietness of a small rural town, Tony Reddrop continues to share his story through his beautifully composed images. “I kept observing people walking across certain crossings in town at different times of the day when the light was really mellow (glowing) and noticed many people were wearing really great colours, that blended with the crossings and the backgrounds. The way I shoot a lot of the time, under exposed and not fully showing the person, worked really well, so I kept going back to the different locations, which when you live in a small town of 90,000 people, is not a lot. The idea of the series is how you can live in a town for years, but not really feel you know the people, who are just passing mysterious shadow figures. The images in the series show an insight into what could be something darker, lying just under the surface, that has become increasingly more visible in the town, health, and social issues.” IN CONVERSATION WITH TONY REDDROP THE PICTORIAL LIST: Tony please tell us about yourself? When did you start getting into photography? TONY REDDROP: I am an Australian photographer (from Melbourne originally) living in the North Island of New Zealand for the past 12 years. I am also a dad to three girls, so juggling time has become an art form. I started photography later in life, in early 2000, did some short courses at tech, was a wedding photographer's assistant (didn’t last long), then a commercial photographer's assistant, did some more formal college study (two goes at that), then some time at press photography, starting at local papers, working up to the daily's. So it would be fair to say, I had done and tried a bit of everything, before finding what I wanted to do, documentary and portrait photography. Add to all the above a few years spent walking the streets of Melbourne taking photos of people and whatever interested me, usually light and shadow, all on black and white film. I tend to look and observe, and capture images when something catches my eye, the light, shapes, shadows, colour, or interesting people, things that would make a great environmental portrait, or stories that can make great documentary. I usually don’t take a lot of images every time I am out shooting, and I shoot to the mood of the area I am in. I have exhibited my work since 2000, mainly solo shows, in Australia and New Zealand, and have bodies of work held in collections of various national and state organisations in Australia. I have shown work at international photo festivals and had my work featured on radio, television, and in print. TPL: Where do you find your inspiration to photograph? TR: I mainly find inspiration from things I see, and people I meet in everyday life. Also inspiration from the many different photographers on Instagram who are doing longer term projects. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? TR: Humanity and what we are really seeing in the images of the people. Colour, light and shadows, a story... TPL: Do you prefer to photograph alone or with friends? TR: Always alone. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? TR: I made a point of not looking at photography books, for the first couple of years, so I would not be influenced by others. Believe in yourself! Because you must always believe in your talent, it gives you the strength to keep going. TPL: Has your style of photographing changed since you first started? TR: My style has changed over the years, the biggest shift has been in the past six years, after returning to photography, after an eight year hiatus. Images I take now are mostly colour, and have even more contrast than when I first started. I now tend to look and observe more, shoot less, but more quality, and if it's not happening, I don’t worry. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? TR: I use (as I always have) a prime lens (23 mm/35 mm equivalent) and mirrorless cameras. I have used SLRs. All usually set around f2.8. Looking like a tourist or a happy snapper, helps me to fit in, is less intrusive. TPL: Where is your favourite place to photograph? TR: Melbourne City. So much going on, and the light, and the surrounding suburbs... TPL: Are there any special projects you are currently working on that you would like to let everyone know about? TR: Over the summer break, I want to start documenting the major change to a small rural town of 700 people. It is having a railway freight hub built just outside the town, like 800 yards out of town. The freight hub will be 7 km long, operating 24/7, so the noise, light pollution etc, is going to change peoples' lives forever. Add to this a new ring road to bring big trucks to the rail yard, that will run through or close to the town. Paradise lost. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? TR: Publish a book, or books. Get the funding to do so. Getting and doing commissioned work and projects, globally. Major public exhibitions, globally. Getting a web page up (aaah the money). Family first too. A financial patron, who is involved in the arts. TPL: “When I am not out photographing, I (like to)... TR: Stay at home spending time with the family, watching good documentaries and films.” Tony Reddrop's journey in photography has been a truly inspiring story of how late starts can still be successful. His experience and wisdom have truly come through in his work, which has been widely celebrated in Australia, New Zealand and internationally. Tony's series is just a glimpse of his talent, as it captures the beauty of people in a rural town. To see more of Tony's projects and explore his work further, use the links below. VIEW TONY'S PORTFOLIO Tony's website >>> Instagram >>> read more interviews >>> 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. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences.

INTERVIEW FINE ART STREET May 25, 2020 INTERVIEW PHOTOGRAPHY Benny Van Den Bulke INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For Benny Van Den Bulke, photography is a powerful form of art. With a strong preference for black and white, he’s able to capture stunning contrasts and graphic compositions that have become his signature style. He’s always imagining what his work will look like when it’s in black and white, and he focuses on geometry, lighting and the perfect subject to make the scene complete. From serene landscapes to vibrant cityscapes, Benny searches for the decisive moment when every element comes together in harmony. His unique vision has taken him around the world, and his eye for detail has earned him recognition and respect from the photographic community. Join us as we explore Benny's fascination with black and white photography and discover the beauty of his art. “Six years ago I bought a DSLR because I thought these machines could take better photos of my kids! So when that wasn't the case I started searching what I needed to know or improve on myself to get better images, and instantly I was drawn into photography as a creative outlet!” IN CONVERSATION WITH BENNY VAN DEN BULKE THE PICTORIAL LIST: Benny , how has as your style of photographing changed since you first started? BENNY VAN DEN BULKE: For sure, I started with some flowers and my kids, some basic portraiture…(like the most of us). Then started to photograph landscapes, long exposure, even a little bit of urbex…but street photography just always stood out as the favourite, the one genre that I came back to every time I tried something else. Black and white has been my main preference since a few years also, it's a bit encrypted into my style nowadays. And since two years I have been primarily been shooting street, with a strong taste for graphical images, where the shapes and light are the most important features. But I feel I'm still evolving, would like to do some more candid and reportage style, maybe some more minimalistic work... Where will everything lead to eventually?...I don't know and that's just fantastic! TPL: Where do you find your inspiration? BB: Just about anywhere, on social media, but also by buildings or shapes, even on well known locations, I always try to capture my view on things. A big inspiration can be the light, it sounds really corny I know but that's how it is! TPL: Who are your favourite artists/photographers? BB: Vivian Maier, Henri Cartier-Bresson, Fan Ho, Stephan van Fleteren...if you love street photography and black and white, these are the big names and I love every one of them! Alan Schaller, Vulture Labs, Thomas Leuthard (he sadly retired from photography)...these guys have inspired me the most in my current style of photography TPL: Where is your favourite place to photograph? BB: Gare de Guillemins (Guillemins Railway Station) at Liege, Belgium. That is where I discovered what kind of street photography I wanted to start doing and this place just keeps inspiring me, the architecture is fantastic! I try to go once every year to this place, totally love it! TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? BB: That's a hard one... As almost every street photographer says that equipment is the least important thing (and I can relate to that). For me, even equipment can be somehow inspirational...new techniques brings new opportunities right? Tilting screens are great, and also being able to shoot completely silent is a big help, etc. etc. So, I think gear matters to me as it helps me, but it is not defining for my photography, it is there to help me get what I want more easily. People starting out in this type of photography can actually start with their smartphone or basic DSLR kit with the kit lens or a mirrorless camera, when you progress you will find where your needs will be to purchase a somewhat more specialised system, so start cheap and enjoy the learning process! Photography has totally opened up a whole new world for me. TPL: What characteristics do you think you need to become a street photographer? What’s your tips? BB: Go out and shoot, no good pictures come out of just thinking about it! When I have a period that I'm not able to go out and shoot a lot, I immediately notice I'm getting rusty at it. So practice does make the art! In the beginning the most important is learning shooting techniques, compositions, see what the light does to your photographs…you know...the basics. And then start to edit your images to your own taste, and thus creating your own style. TPL: Have you ever been involved in the artistic world before photography? BB: Nope...photography has totally opened up a whole new world for me. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? BB: With the current Corona crisis, I think a lot of my 2020 plans will be hard to do. Would love to travel, shoot and explore some more cities but, we will have to see of course. I am also working on and planning an exhibition, so I am preparing that to the fullest, but haven't picked out a date yet. I'm thinking it will be in the beginning of 2021. TPL: "If I wasn't photographing what would I be doing?... BB: Haha...LOL...getting bored as hell! I can't even imagine what life without photography would be like. It opened my mind to see the world in another way...so I'm here to stay!" Benny's photography is truly extraordinary. His signature style of combining contrasting colors and graphic compositions makes for some stunning photos that capture the viewer's attention. Benny is passionate about his art, and it shows in the amazing images he produces. By taking the time to carefully compose each shot, Benny is able to create a unique and beautiful work of art. If you want to see more of Benny's stunning photography, be sure to visit his website or follow him on Instagram. Let Benny's work of art inspire you and take your own photography to the next level. VIEW BENNY'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences.

Future Hackney is a social profit organisation that combines documentary and co-authorship to create a hybrid genre of photographic storytelling. Our exhibitions are inclusive, working at the intersections of photography and social engagement. Based in East London, we document Dalston’s history and present communities, alongside protests, carnivals, street culture and urban heritage. We are a grass roots led initiative, who use digital and analogue mediums to tell stories and through street and documentary photography. We create photographs, oral histories, reminisces, community dialogues, street galleries, living archives, online platforms, social media, print and press co-authored with communities. We facilitate young people and intergenerational residents in our creative, skill-based workshops, whilst producing a professional photographic archive. For more information see our community page. FUTURE HACKNEY Future Hackney is a social profit organisation that combines documentary and co-authorship to create a hybrid genre of photographic storytelling. Our exhibitions are inclusive, working at the intersections of photography and social engagement. Based in East London, we document Dalston’s history and present communities, alongside protests, carnivals, street culture and urban heritage. We are a grass roots led initiative, who use digital and analogue mediums to tell stories and through street and documentary photography. We create photographs, oral histories, reminisces, community dialogues, street galleries, living archives, online platforms, social media, print and press co-authored with communities. We facilitate young people and intergenerational residents in our creative, skill-based workshops, whilst producing a professional photographic archive. For more information see our community page. LOCATION London UNITED KINGDOM CAMERA/S Fuji X Series, Pentax K1000 WEBSITE https://futurehackney.com/ @FUTUREHACKNEY @future_hackney FEATURES // Future Hackney

For me, photography is a form of deep listening to connect with what surrounds me. FRANCESCA TIBONI For me, photography is a form of deep listening to connect with what surrounds me. LOCATION Cagliari ITALY CAMERA/S Leica M10 WEBSITE https://www.francescatiboni.com/ @FRATIBS FEATURES // Something About The Future The Silences Where We See Unveiling Vulnerability

INTERVIEW PRIMAL INSTINCT April 19, 2024 INTERVIEW PHOTGRAPHY Tara Sellios INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Tara Sellios is a multidisciplinary artist who explores themes of mortality, fragility, and impermanence in her artistry. She primarily works with large format photography, but also incorporates drawing, sculpture, and installation into her practice. Since completing her BFA in photography and art history in 2010, she has showcased her works both locally and nationally. Currently, Tara is preparing for several shows throughout Italy and she is preparing for a solo exhibition at the Fitchburg Art Museum in Fitchburg, MA, USA. Alongside her exhibitions, Tara actively participates in artist lectures and will be facilitating workshops this year, showcasing her deep understanding and passion for her craft. Using an 8x10 view camera, Tara meticulously plans and executes her photographs, often incorporating organic materials such as animal skeletons and dried insects. These elements, along with religious symbolism, result in visually striking still-life images that are intended to be printed larger than life. Tara’s work explores the duality of life and death, and the instinctive, carnal nature that exists within all living creatures. She draws inspiration from the concept of morality and its relationship to mortality, as seen in the history of art from altarpieces to Dutch vanitas paintings. By creating images that are seductive and beautiful despite their seemingly grotesque and morbid subject matter, Tara challenges viewers to confront their own mortality and the fragility of life. Tara describes her work as a theater production or a book, with each series serving as an act or chapter. Her earlier work focused on themes of pleasure and indulgence, often using wine and blood as allegorical symbols. However, in her current work, she explores a new narrative world where the feast has dried up and pleasure has transformed into something more apocalyptic. Insects and reptiles play a significant role in her work, representing the primal instinct that exists within all living creatures. Through her work, Tara seeks to capture the restlessness and vulnerability of life, while also exploring themes of transcendence and the human experience. She remains true to her original vision, staying as close as possible to the natural elements used in her work. Tara’s thought-provoking and visually captivating pieces continue to push the boundaries of photography and art as a whole. Read on to learn more about Tara Sellios, her inspirations, and her creative process. “As long as I remember, art was always something that I was drawn to, even when I was young. Art had a mysterious, magical quality to it that fascinated me and even frightened me a little, as if it were a secret language or other world. My impulse to create art was always instinctive. It was something I had to do that ran very deep. I’ve always felt the need to get something out of me.” IN CONVERSATION WITH TARA SELLIOS THE PICTORIAL LIST: Hello Tara, thank you for sharing your inspiring photography with us. Welcome to The Pictorial List! Tell our readers about yourself. When did art enter your life? And talk to us about how you chose photography as the medium to play an important role in your art. TARA SELLIOS: Thank you for giving me the opportunity to share my work! It is an honor. I currently reside in my live/work studio in Boston, Massachusetts (USA). I grew up a bit north of here outside of the city in the suburbs. There actually is not a specific moment or romantic story of when art entered my life or when I decided to be an artist. As long as I remember, it was always something that I was drawn to, even when I was young. My main focus was drawing and painting before photography. I took some photography classes for fun when I was younger at weekend programs in local art schools where I learned to use the darkroom, but never thought it would be something that I was going to pursue as my primary medium. I went to art school to study fine art. When I got there, sitting in a room full of people and painting a pile of boxes in complementary colors did not appeal to me. I craved freedom and wanted my time to be spent focusing on conceptual content and not having rigid assignments and exercises. Photography intimidated me because I didn’t know much about it, but two weeks into school I switched into the program and it was certainly the right decision. I came to realize that I could essentially paint with the camera, which is still my mentality in my approach to photography. Working with the rendering of light to create images is something that drew me in. There is also something impactful in the “realness” of a photograph, at least in terms of my work (I know that the word “real” is often debated in regard to photography). Using actual skeletons and objects has a different weight to it than a painting of the object, as a relic has. I like that these otherworldly scenes that I create have actually existed. I enjoy drawing as well, but it is a different experience. I’m glad I work in multiple mediums, as it does feel really good to let loose and make a drawing. TPL: What are some of the challenges you have faced as a woman photographer? Were you able to overcome them? What did you learn from them? What advice can you share with other women photographers out there? TARA: I must say that I have been very fortunate to not have had many challenges in that regard as an artist. Any challenges were outside of that realm. I have been so fortunate to have been surrounded by so many strong, supportive women (some artists, some not) who feel more like family than friends. I am grateful for the women, my sisters, that have entered my circle. They come from different walks of life and different places, but we all have a common thread of creativity and a bit of wildness. My advice to woman photographers is to seek out and surround yourself with other strong women, and nurture those relationships. They are more valuable than anything. TPL: How do you believe art can convey the complex concept of mortality and morality? What drives you to create images that capture the essence of existence and the primal nature of life? How has the depiction of the end of the world and Hell in art and literature influenced your work? TARA: Throughout history, art has had a place in society of acting as a reminder, warning, or way to teach, especially within the realm of sacred spaces. Art’s role was one of storytelling, reverence and meditation. The concept of morality and mortality is present in that there are many works of art that act as a reminder that earthly pleasures and carnal self indulgence can lead to downfall and distraction from spiritual things. Life is fleeting and temporary. I had a very strict Christian upbringing that was present my whole life. Since a very young age, the concept of sin and the judgment and punishment for that in Hell were ever present. It was pretty traumatic in the way in which it was delivered. That being said, constantly hearing stories from the Bible my whole life has certainly impacted my work. As a text, it is an extremely vivid book, filled with intense, often surreal imagery, metaphor and symbolism. The concept of sin and punishment that was so prominent in my upbringing is one that I constantly visit in my work, as if I am debating it and rationalizing it. Why must we face such harsh consequences for acting on sensory impulses, both big and small? It’s pretty amazing the quantity of images there are throughout history of depictions of Hell, and not just in Christianity. There’s a deep, dark scary place filled with monsters, tortures and demons in many cultures. What draws me to the paintings is despite their darkness, there is something really curious and surreal about them, and often there is an uncanny sense of humor that appears. I love their rich, hot color palettes and the festering chaos they possess. I spent 15 years working in nightclubs to support myself financially, a job I finally took the plunge of leaving, and a lot of these paintings of Hell often reminded me of some twisted nightclub. All of these elements have become woven into my work. My approach to creating images that capture primal instinct, carnality and existence is more visceral and earth centered. The natural world is very cyclical in nature, constantly following a life/death/life cycle. All things are a part of this and exist in this inevitable flow. We have to live in this spiral with our human, earthly consciousness, which can be difficult to fathom. However, the impermanence of it all can make beauty and wonder even more powerful. "Subtero" "Triticum, No.1" Detail of "Triticum, No.1" "The Seven Woes, No.1" "The Seven Woes, No. 2" "The Seven Woes, No. 4" "Afflictio" "Amans, No. 1" "Amans, No. 2" "Amans, No. 3" Sketch of "Ascendo" "Ascendo" Sketch of "Aubundantia" "Abundantia" "Impulses, No. 1" "Implicitum" "Impulses, No. 3" "Infestatio" "Luxuria, No. 5" TPL: How do you balance the seemingly contradictory themes of beauty and grotesque in your images? You use dried specimens and skeletons as symbols of primal instinct - can you elaborate on this choice and its significance? TARA: I don’t think of the concept of beauty and the concept of the grotesque as separate. There can be vast beauty in the grotesque, which makes it alluring and unsettling. I try to portray the gestures and marks in my photographs with elegance, despite apparent harshness. Texture, light and color, anything that appeals to the senses, can instigate the notion of beauty, but there can be beauty in the drama and emotion of an image. The skeletons and dried specimens entered the story as a response to my older work and as a continuation into the next chapter of the story. I had reached a point of completion with the materials I used to work with, such as fleshy specimens and wine, and was tired of being chained to using the tabletop. The feast is over, the wine has dried up and the flesh has withered away to the bone, but the chapter transforms into a new narrative world where the earth begins to take over in a sort of apocalyptic way. I wanted more freedom and a feeling of weightlessness in my images, for the still life to become more animated. The insects and other organic materials begin to take over. I often think about conveying that fear that one can feel in the woods by yourself as darkness starts to set in, that sort of shadowy feeling of being in a powerful, wild place teaming with creatures and a force way beyond oneself. TPL: Can you speak more about the process of creating your images, from research to the final photograph? Please share your mental state when you embark on a new project. What are the guidelines you give yourself, and how much planning do you typically do? How do you determine when to start and stop? TARA: My work is extremely process oriented, with many layers and steps that all play off of each other. The initial stage is research based, which involves reading and looking at whatever art historical figures are speaking to me at the moment, music, movies, and just living. All of it feeds the work, which I think is true for a lot of artists - whatever is part of our “diet” shows up in some way, whether subtle or not. My state of mind when I am beginning a new piece or entering an intense period of creation is an overbearing feeling that something needs to get out. I can become pretty obsessed, and it overtakes me. It is almost as if my work has a life of its own. It tells me when it’s done. Once ideas start coming through, I jot down concepts, words and images that come to mind, some of which are often very vague. They can be colors, feelings or actions that I want the imagery to manifest. As more solid concepts begin to arise, I make a shot list of sorts. I then make preliminary watercolor sketches to establish the concept visually and do most of my problem solving there. From the sketch, I can figure out colors and materials needed to build the photographic arrangement, which is a sculptural endeavor. Using an 8x10 view camera and natural light, the scene is photographed with color film and then scanned. The only photoshop work that I do is typical adjustments and removing the wire, glue and other base structures that hold everything together. TPL: How do you hope your images will make viewers contemplate their own mortality and the concept of transcendence through suffering? TARA: As an artist, I tend to let go of a work when it is completed, meaning when it is done, it is out in the world and takes on a life of its own. It is out of my control at that point. Viewers will have their own interpretation and meditations on it depending on their experience in life, which sometimes means that what they find in a piece has nothing to do with my intention. I hope that my work makes people think and dig deep into thoughts and feelings that they haven’t felt before or often. I also want people to feel a sense of wonder and curiosity when looking at the work, in the way that beauty is often more powerful in its ephemerality. Beauty is something you can’t hold onto, and it exists simultaneously in a world that has a lot of darkness and pain. My work has a lot of darkness and lightness, as the two coexist together in a dance. The psyche possesses both and one does not exist without the other. I hope viewers feel that presence in my work and that it activates emotions or thoughts that are specific to themselves. Beauty is something you can’t hold onto, and it exists simultaneously in a world that has a lot of darkness and pain. TPL: Can you explain your process of using natural light instead of studio lights, and using an 8x10 view camera in your photography? TARA: Nothing renders light and color like 8x10 film. It has a radiant, painterly quality to it. Ideally, the photographs are intended to be presented at a grandiose size, in the vein of painting, so the 8x10 negative is the best option to enlarge the image and maintain hyper detail. The detail is crucial to my work, as I want the textures, tones and colors to appeal to the senses. Natural light is just so stunning and simple. It is a light that moves and comes from organic elements. The way that it renders an insect wing, for example, would not be achieved in the same way with artificial light. I enjoy looking at the paintings of Vermeer and his use of light in his work. I find it very photographic in nature, which most likely has to do with his use of the camera obscura. TPL: Who was your first inspiration, in this new way of engaging and defining the world around you? Is there a profound moment you shared that has stayed with you until today? Would you mind sharing that with us? TARA: Having grown up in such a restricted environment, my discovery of music changed everything for me, especially of the rock, punk, indie etc. persuasion. I was mostly surrounded by church music or “nice” music. Music really became my world and I went to see bands play every weekend. The intensity of emotion, sound and deep, often dark, feelings expressed felt so cathartic. I remember I was twelve years old the first time I heard Nine Inch Nails I thought, “what IS this?!” I had never heard anything like that before, and experiencing almost a shock like that is prominent in my mind. I didn’t know music could be that. It led me to bartending in nightclubs and music venues for fifteen years, and as I mentioned, it is a career I just left a few months ago to pursue my art. It was time to go for many reasons, but one thing that started to bother me was that I had musical burnout. I didn’t want to listen to anything on my own time, but thankfully, that has healed. It didn’t take long. It feels good to attend concerts now as a pedestrian. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TARA: There are so many artists. I love looking at art and am very happy sitting with a pile of art books, or being in a museum. Although I am a photographer, I actually don’t look at a lot of photography, even though I do appreciate many of them (Sally Mann, Emmet Gowin, Maria Magdalena Campos-Pons, Linda Connor, to name some). Some friends of mine have great photo book collections and it is always a treat to sift through them. To narrow it down, I’ve spent a lot of time the past few years researching Hell and apocalyptic imagery throughout history, ranging from the icons like Hieronymus Bosch and Brugel to medieval illuminated manuscripts. Rodin’s sculpture The Gates of Hell has always been a huge inspiration. It is so romantic, dramatic and powerful, as it has elements of the erotic and the macabre with all of those falling bodies clinging to each other. It is based on the layer of Hell in the Inferno for those who have sinned in carnal things. Presently, I have been focusing more on researching paradise, as I believe that is the next chapter for my work. All of these artists have impacted me and my approach to creating my work in that they possess such a heavy drama, emotion and uncanny magnificence that I hope to convey in my work. There is a continuous thread of this imagery over the span of so many years that possesses a collective visual language that I humbly hope to carry on in my own contemporary image making. Some modern and contemporary artists that inspire me are Louise Bourgeois, Berlinde de Bruyckere, Francis Bacon, Jan Fabre, Anselm Kiefer…I could keep going. Inside Tara's studio Tara's process "Luxuria, No. 8" "Messis, No.1" "Messis, No. 2" Sketch of "Pondus" "Pondus" "Processio" "Renovamen (Descendo)" "Renovamen (Obscura)" "Renovamen (Passio)" Detail of "Renovamen (Passio)" "Renovamen (Purgatio)" Detail of "Renovamen (Purgatio)" "Seven Snakes" "Oculus, No. 1" "Oculus, No. 2" "Oculus, No. 3" TPL: What advice would you give to a photographer starting a new project, what are the pros and cons and what are some of the lessons you have learned along the way? TARA: I think that starting a new project is exciting! I don’t really see beginning something new as having “pros and cons”, at least for me. The work begins to take shape and may change from your original intention, but that is usually for the best, as in a lot of life situations. I would say be open to the work revealing itself without clinging too tightly to your own rigid ideas. Don’t rush and don’t push the work in one direction if it is screaming to go in another. The important thing when starting something new is to show up, continue to work, and be okay with the unknown. TPL: What is on the horizon for Tara Sellios? Are there any new projects you would like to share with us? TARA: These days, I am always working on several projects at once. Most of them are open ended and I just keep adding to them. My main focus at the moment is a series called Ad Altiora Tendo, which means “I strive for higher things” in Latin. Having a lot of deep, rich greens and earth tones, I want it to feel like a lush, subtly psychedelic forest. It explores themes of transcendence and regeneration through suffering and sacrifice. Some of the inspiration is drawn from the martyrs, those who have voluntarily suffered for refusing to denounce their faith and beliefs and ultimately transcend to a higher, more spiritual place. There is some violence in the imagery, but it is portrayed with natural elements of beauty, like flowing red flowers in the place of blood. Ultimately, the work is becoming more celebratory, with more foliage and musical instruments, and probably other elements that will arrive in the future. I have spent much of my time focusing on the research of Hell within art history and have read Dante’s Divine Comedy three times. I’m at a point of moving forward with my work where I want to start focusing more on moving toward and ultimately to, paradise. I have a separate series revolving around in the back of my head in regard to that heavenly/paradise concept with a series that is mostly blue and white. TPL: When you are not creating your art through your photography, what else could we find Tara doing? TARA: Creating art for me also involves the drawing aspect, so I will often be making drawings when I am not working on a photograph or planning other projects while working on one. I feel like I’m always working in some way! When not creating art, I spend a lot of time in the woods hiking. As a city dweller, trips to nature are much needed. I feel a sense of peace and get a lot of ideas and thinking done out there. It grounds me. In the grand tapestry of contemporary art, Tara Sellios stands out as a weaver of the morose and the magnificent, challenging the viewer to peer through the lens of mortality and emerge with a sense of awe. Her multidisciplinary approach defies simple categorization, merging photography with sculpture and installation, to craft a body of work that is as contemplative as it is confrontational. Tara’s art, a visual feast that confronts the viewer with the stark reality of life’s fleeting nature, is profound in its execution and resonant in its message. Tara creates a dialogue with the past while deeply engaging with the present. The result is a series of works that are not only visually arresting but layered with meaning and rich in context. As viewers, we are invited to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. With her upcoming exhibitions and workshops, Tara continues to expand her narrative and share her profound reflections with the world. Whether standing amidst her large-scale photographs or participating in her educational endeavors, one is compelled to reconsider the essence of human experience through her eyes. As we anticipate her future works and exhibitions, we are reminded of the power of art to not only capture but also transcend the human condition. Tara Sellios’ oeuvre is a testament to the enduring quest for understanding and the unyielding pursuit of beauty in all its forms — even in the presence of the inevitable end. Her work, a poignant reminder of our own mortality, invites us to embrace the fragility of life and find solace in the art that imitates its impermanence. VIEW TARA'S PORTFOLIO Website >>> Instagram >>> Facebook >>> read more interviews >>> 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. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences.

I snap it like I see it. We are living in extraordinary times and it’s my duty to capture them one day at a time. DAVID KUGELMAS I snap it like I see it. We are living in extraordinary times and it’s my duty to capture them one day at a time. LOCATION New York UNITED STATES CAMERA/S Canon T6 @KUGEY FEATURES // Candid Snapshot

I was born on the south side of Chicago, but moved to Northern California when I was 12, so the west coast really does feel like my cultural roots and San Francisco my hometown. But I came to Boston for my bachelor’s degree in music and then to NYC to get my masters degree at The Manhattan School of Music. I then stayed in New York for 35 years now, so I definitely feel like a full-blown New Yorker. I freelanced as a pianist and composer for years in NYC and then landed a full time job teaching music at The Calhoun School on the upper west side. I let go of teaching after 10 years and found myself obsessively fascinated with photography, almost as if it were a new musical instrument speaking to a lifetime spent in that pursuit. My wife got tired of seeing me using my iPhone so much, so she bought me a birthday present of a beautiful Sony mirrorless, my first real camera. Three years studying the basics, as well as taking master classes in the philosophy and grammar of photography at the International School of Photography brought me to a place where I felt I could follow and realize my total immersion in this new passion, and, in short, found myself continuing incessantly to photograph everything in sight that engaged me. Four years ago I was offered a job as staff photographer for the Fire Island News, a newspaper based in Long Island, NY, and jumped at the opportunity to work as a photojournalist. I now consider myself a full time freelance street photographer, portrait photographer, and photographer in general. ROBERT SHERMAN I was born on the south side of Chicago, but moved to Northern California when I was 12, so the west coast really does feel like my cultural roots and San Francisco my hometown. But I came to Boston for my bachelor’s degree in music and then to NYC to get my masters degree at The Manhattan School of Music. I then stayed in New York for 35 years now, so I definitely feel like a full-blown New Yorker. I freelanced as a pianist and composer for years in NYC and then landed a full time job teaching music at The Calhoun School on the upper west side. I let go of teaching after 10 years and found myself obsessively fascinated with photography, almost as if it were a new musical instrument speaking to a lifetime spent in that pursuit. My wife got tired of seeing me using my iPhone so much, so she bought me a birthday present of a beautiful Sony mirrorless, my first real camera. Three years studying the basics, as well as taking master classes in the philosophy and grammar of photography at the International School of Photography brought me to a place where I felt I could follow and realize my total immersion in this new passion, and, in short, found myself continuing incessantly to photograph everything in sight that engaged me. Four years ago I was offered a job as staff photographer for the Fire Island News, a newspaper based in Long Island, NY, and jumped at the opportunity to work as a photojournalist. I now consider myself a full time freelance street photographer, portrait photographer, and photographer in general. LOCATION New York UNITED STATES CAMERA/S Sony A7R IV @ROBERT.SHERMAN.PHOTOGRAPHY FEATURES // The Conductors: a love story Enroute to the Pines