WELCOME TO STREET LIFE Street Life is a street photography podcast filling a void in the podcast world of photography. It is hosted by two photographers, John St. and Mark Davidson. WELCOME TO STREET LIFE December 21, 2022 INTERVIEW PHOTOGRAPHY various artists PODCASTERS John St. and Mark Davidson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE STREET LIFE is a street photography podcast filling a void in the podcast world of photography. It is hosted by two photographers, John St (aka Giant_Evertonian) and Mark Davidson. Together they share the passion for street photography, and have a comradery and chemistry that makes for interesting discussions with street photographers in the industry. They share their thoughts and opinions on a diverse range of topics as well as engage with well respected professionals in the industry, while highlighting some inspirational less known street photographers making their mark in the field today. Each artist is different, giving them great material for asking brilliant questions that create meaningful dialogue, that one can learn from and apply to how they may approach their own work. With a casual feel, their quick wit and charm make the exchanges with their guests not only informative, but delightful and easy to listen to. Both John and Mark are Australian based photographers, but reside in different cities along the southern coast of Australia. About a day's drive between them. What started off as mutual respect for each other's work on Instagram, eventually turned into a meet and greet in John’s city of Adelaide, where they inspired each other's work on the street, and where the interactive personal exchanges became a unique and comfortable dialogue between them, and where the magic of their chemistry began. Much of their work together is done online, giving them the ability to give this project the attention it deserves and requires. They started this endeavour with no expectations, and only short term goals, that have already surpassed the initial targets they’d loosely set at the beginning of the project. The street photography community has embraced their podcast series, finding it to check a lot of the boxes they felt were missing in the photographic podcast community. Tune in to their interview below and find out more about what is making this podcast so successful. “We get lots of comments about how well we compliment each other and our on air ‘chemistry’. I'm not really sure where our chemistry comes from to be honest. I guess we have a similar sense of humour, beliefs and our moral compass points in a similar direction which all go to make a solid foundation. I believe you cross paths with particular people at different stages in your life. You never really know how long they'll stay 1, 2-3 years or lifetime friends. Maybe the cosmos arranged for Mark and I to cross paths. Jesus, I sound like I'm on an Oprah show!” IN CONVERSATION WITH THE CREATORS BEHIND THE STREETLIFE PODCAST: JOHN ST. & MARK J. DAVIDSON THE PICTORIAL LIST: Hello John and Mark, firstly congratulations on the podcast! Please start off by introducing the StreetLife Podcast to us. What is it about? JOHN ST: StreetLife is a podcast on all things street photography. It’s a casual, pub-like chat where we have conversations with inspiring, creative and influential photographers from around the world. We also sprinkle in a few episodes where Mark and myself share our thoughts or opinions on particular topics on the genre street photography. MARK DAVIDSON: We felt there was a gap in the photography world for a podcast dedicated to street photography; there are a number of podcasts on photography more broadly - fashion, adventure, portrait, gear etc - but none that focused solely on street photography and we wanted to be having those conversations. We have loved hearing from street photographers about their work and what makes them tick. TPL: Tell us something about yourselves. How did you both first become interested in street photography and what keeps you drawn to it? Personally, what experience do you bring to the podcast? JS: I fell into street photography when I was forced to get a 'smart' phone for a new role at work. With that phone came a camera so I started to take pics of myself and my dog on our early morning runs as well as images of coffee (another love affair of mine) as I’d write coffee shop reviews. I then progressed into taking pics of the architecture and buildings in my home city of Adelaide which led to some frustration as people would walk into my shots! So, I thought I’d be clever and try and work those people into my shots not realising that this could be considered street/urban photography. My journey into street photography was complete when I stumbled across a Sean Tucker video when trying to learn how to make my terrible images look marginally better using apps. It was watching lots of Sean’s videos that made me take the plunge into buying a real camera. I’ve been shooting different cities around Australia for almost 4 years now. I guess I’ve stuck with street photography because it allows me to be present in the moment neither worrying about the future nor concerning myself about the past. As for what I bring to the show? Ummm…a witty charm that keeps you engaged instead of yawning and falling asleep at the wheel? I’m thinking the people listening would be able to answer that question better than myself. MD: In my day job I’m a breakfast radio producer, so from a technical standpoint I brought that experience to the podcast. As far as street photography is concerned, I still consider myself a work in progress, a novice. I have been shooting on the street for roughly three years, with COVID interrupting most of that. I’m very much still learning the craft. But I don’t feel that lack of longevity is an issue being a co-host of a street photography podcast. Each episode is very much about our guests and their journey, not so much about myself. John and I have opinions on street photography and we very much want these conversations to be relaxed chats rather than intensive interviews. But at the same time want the spotlight to be firmly on the guest. TPL: What do you hope the podcast is able to address, and what topics are you interested in pursuing? What position would you like for the podcast to occupy in this large world of photography? JS: Street podcast world domination of course! So be sure to tell your friends! Yeah, narrrr...I just want to be a conduit that gives old and new street togs out there the opportunity to listen and learn from the people we have on the show. We’ve been incredibly lucky to have spoken to some pretty heavy-hitters and some not so well known but no less talented shooters. Maybe listening to the stories about their journey will inspire our listeners to grow further themselves or perhaps stick with the genre when things aren’t going so well. The ultimate goal is to remain relevant, fun, humorous, interesting and as informative as possible and hopefully this recipe will encourage our audience to grow. MD: To be the greatest street photography podcast in the world, of course! Joking aside, I’d hope the podcast is a resource for people getting into street, as well as a forum for passionate street photographers to learn from some of the current greats of the industry. We’ve been very fortunate to have some world-class photographers on the podcast already. And I’d also like the podcast to be a vehicle for up-and-comers to get their work out there and to chat about their love of street photography. © Jesse Marlow BEHIND THE SCENES: Interview with Jesse Marlow © Julia Coddington BEHIND THE SCENES: Interview with Julia Coddington © Daniel Dunlop BEHIND THE SCENES: Interview with Daniel Dunlop © Betty Goh BEHIND THE SCENES: Interview with Betty Goh © Knox Bertie BEHIND THE SCENES: Interview with Knox Bertie © Prithi Dey BEHIND THE SCENES: Interview with Prithi Dey © Sean Tucker BEHIND THE SCENES: Interview with Sean Tucker TPL: Has working on the podcast so far, changed how you view street photography. If so, how? JS: I would say it would be that you need to have a purpose for doing what you’re doing. I always appreciate listening to other people’s opinions and thoughts (even those that are different to my own) on the often polarising genre that is street photography. MD: In a sense it probably has. We recently had a chat with Jesse Marlow and I was interested to hear him talk about the length of time it takes for him to finish a project. It was a good reminder that there’s no rush. It’s important to take your time. Shoot for the love of it. TPL: So far, what is the most enjoyable and fulfilling aspect of being a host of a podcast? JS: Having the opportunity to speak to so many photographers from around the world and then sharing that with others. The biggest reward is the feedback from people who took the time to listen to the podcasts and letting us know how much they’ve enjoyed listening to them. It’s very much appreciated so thanks everyone. MD: As I mentioned earlier, the access we’ve been getting has far been astonishing! It has definitely exceeded my expectations. It’s been a pure joy to have spoken to some of the world-beating photographers we’ve had on the podcast thus far, people I have long admired. Also the fact that it seems to have resonated with the photographers who listen. John and I have had incredible feedback so far. I feel lucky to be doing this. TPL: Street photography is a very complex genre, so in some sense there are many views on what street photography is. What catches your eye among the flood of images that are on offer? What kind of image is groundbreaking for you these days? JS: I like and appreciate all the different styles of street photography. I’m drawn to images that make me look and see the world differently than I, myself may see it. MD: I like something that challenges me or hits me in the guts when I’m scrolling through Instagram. I get excited when I see a photo and I don’t know how the photographer got the shot. I’d never want to impose my views or preferences of street photography on others - people can shoot whatever they like - but I do have an unapologetic bias towards candid, undoctored photography. The podcast is a resource for people getting into street, as well as a forum for passionate street photographers to learn from some of the current greats of the industry. TPL: Recently you mentioned on the podcast that you were told by a photographer that “all the good photos have already been taken”. You both disagreed with this photographer’s comment. Why? JS: I couldn’t disagree more with that somewhat cynical comment/statement. There are still future moments that have yet to be captured. None of us know whether those moments will be better or worse than those previously captured and we never will be if we aren’t there to freeze and capture time with the press of our shutter button. MD: I agree that stylistically there is a lot of repetition in street photography but I have to disagree with the notion that every good photo has already been taken. Of course that’s not true. Society is constantly changing and street photographers are going to continually document the world and way we live in it. If someone had made that statement 15 years ago, think of all the things that would never have been photographed. The iPhone for one! TPL: What photographer has made the most impact on you and that you would like to interview for the podcast? JS: Garry Winogrand, Gordon Parks and Saul Leiter. Going to be a little tricky getting any of them to agree to join us on a podcast as they’re unfortunately no longer with us. I’d really love to speak to Trent Parke, Alex Webb or Tatsuo Suzuki. MD: I’d love to interview Joel Meyerwitz and Trent Parke. I don’t think Trent does many interviews these days, so that might be tricky. Speak to Joel would be an immense privilege. TPL: Where do you discover the photographers that you want to interview? If someone wants to be on your podcast, how do they submit? What can photographers do to stand out from the crowd? JS: We started with a list of people that both Mark and I admire and love. People we interview will often bring up names of photographers that neither of us were aware of and they will get added to the list too! I’m always flicking Mark links to photographer’s accounts I’ve come across over Instagram. MD: Before we started we had a list. We’re still working our way through that list and to our wonderful surprise we’ve had around a 95% hit rate so far! We’re always on the lookout for new and exciting photographers. Hit us up with a DM or send an email to podcast.streetlife@gmail.com © Oscar Wollsten BEHIND THE SCENES: Interview with Oscar Wollsten © Hugh Rawson BEHIND THE SCENES: Interview with Hugh Rawson © B Jane Levine BEHIND THE SCENES: Interview with B Jane Levine © Gustavo Minas BEHIND THE SCENES: Interview with Gustavo Minas © Tom Baumgaertel BEHIND THE SCENES: Interview with Tom Baumgaertel © Alex Munoz BEHIND THE SCENES: Interview with Alex Munoz © Nico Froelich BEHIND THE SCENES: Interview with Nico Froelich TPL: Do you ever feel nervous before/during a podcast? If so, what do you do to overcome any fears? What would you say to someone who wants to aspire to start a podcast? JS: You’re always a little nervous as you don’t really know the personality of the person you’re going to be talking to and they don’t know us either! MD: I find gin and tonic helps! Any nerves that either John and I have are quickly dispelled once we start the conversation. Every one we’ve spoken to has been so lovely and generous with their time. We’ve not had any awkward or tricky moments so far! TPL: Finally, what are some of your goals for the Streetlife Podcast? Where do you hope to see yourselves in five years? JS: Wow! 5 years is a long way down the line. I really hope the podcast continues to be enjoyed but most of all continue to be relevant to street photographers everywhere which then hopefully manifests itself into more people tuning in. As for advice on starting a podcast? Ummm JUST DO IT! MD: I said to John my goal is to record 50 episodes. He nearly spat out his Cornflakes when I told him that! We’re getting close to halfway there so I think that’s a realistic goal. In truth, I don’t have an end point in mind. I just know so many podcasts run out of steam after a few episodes. That hasn’t been the case with us. I think our conversations have become easier and improved as we’ve gone along. I’d love to be doing this for many years to come! I’m having a blast doing it now. It’s been incredibly rewarding. Let’s hope Street Life is kicking goals in five year’s time! Together both, John and Mark saw the need for a platform that would create discussions around street photography. They have worked hard cultivating a fine diverse group of street photographers to support their mission and inspire other like minded individuals out there in the industry. If you have not listened to their Podcast, give it a go, you will not be disappointed! Be careful, you may binge listen, don’t say we didn’t warn you! LISTEN TO STREETLIFE Read an interview with John >>> Read an interview with Mark >>> John's Instagram >>> Mark's Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

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. 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. August 24, 2025 INTERVIEW PHOTOGRAPHY Suvam Saha INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Suvam Saha’s path to photography began unexpectedly. An electronics engineer with an MBA in finance and marketing, Suvam spent years working in multinational companies before deciding to step away, dedicating himself to helping his father and continuing the family’s garments materials business. Art, however, has been present from the beginning. As a hyper realistic portrait artist, he had trained himself to see detail with precision — the fall of light on skin, the shifting tones of shadow, the subtle textures of a surface. When Suvam picked up a basic DSLR in 2017 to photograph products for his business, those same instincts shaped how he looked through the viewfinder. Soon, the streets of Howrah and Kolkata became his extended workspace, their energy and unpredictability igniting a lasting commitment to street photography. The photographs are not staged. They are anchored in real encounters that emerge in the flow of daily life. Suvam’s photographs move between quiet observation and dynamic activity: riverbank rituals, railway stations in thick fog, children playing in open fields, moments of performance and celebration. Across these settings, his focus remains on preserving what will not happen again in the same way. The influences he cites — Alex Webb’s layered compositions, Elliott Erwitt’s timing, Martin Parr’s documentary irony — all point to a practice concerned with both structure and spontaneity. Suvam often works with bold color and complex framing, but always in service of the scene. His process is less about arranging reality than about recognizing when reality arranges itself. Recognition has come from both national and international platforms: finalist in street photography festivals such as Urban Photo Award, Fujifilm Moment Award, Paris Street Photo Award, and features in Eyeshot Magazine, Asian Photography Magazine, and Vogue Italia. Yet for Suvam, the value lies in the act itself. Photography, he says, is “oxygen” — a way to reset his mind, reconnect with the world, and find calm in the midst of pressure. Now exploring long-form series and documentary work, Suvam is turning his attention to sustained narratives that explore the social, political, and cultural conditions of the place. His approach remains consistent: to work with patience, to move with curiosity, and to see the street not as a backdrop, but as an active subject in the stories he tells. “I want to focus on stories that reveal the undercurrents shaping our times. How economic shifts affect families, how climate change is altering livelihoods, how identity and tradition evolve in an interconnected world. I’m especially drawn to the intersections where personal narratives meet larger political realities. Culturally, I want to explore both the fragility and the reinvention of heritage, from street festivals to fading crafts. My goal is to create work that not only documents but also sparks dialogue, helping people see the shared humanity behind statistics and headlines.” IN CONVERSATION WITH SUVAM SAHA TPL: You describe yourself as “first an artist, then a photographer.” How does that identity shape the way you approach the street compared to someone who came to photography first? How do you think the act of drawing prepared your eye for the kind of detail and patience street photography demands? SUVAM: Drawing sharpens our eye to build an image rather than just find one, and it gives us the patience to wait until all the visual elements click into place — which is exactly what street photography, at its best, demands. As a hyper realistic sketcher, I have to observe each and every detail of a picture-like skin, pore, hair, wrinkles of a subject. Sometimes it will take 20-24 hours or more than that to complete a sketch. So, it is a process by which a habit has been developed to observe every detail of circumstances when I'm going to click a shot. And talking about a composition, it's automatically generated in my brain no matter how many subjects there are. TPL: Running a full-time business while maintaining a committed photography practice is no small feat. How do you structure your life, so both thrive? SUVAM: Balancing the two isn’t about splitting my life into compartments — it’s about letting them flow into each other. The business side gives structure, a steady rhythm to my days. Photography brings breath, curiosity, and a sense of wonder that keeps me from getting lost in spreadsheets and schedules. I carve out time for photography the way you might water a plant — regularly, intentionally, even if it’s just a small sip. Some days it’s a dawn walk with my camera; other days it’s noticing light falling across my desk in the middle of work. Over time, I’ve found that my photography feeds my business with a fresh perspective, and my business gives my photography the stability to grow. It’s less a balancing act and more a conversation between two parts of myself. TPL: You’ve said photography is “oxygen” for you. Can you describe a time when picking up the camera completely changed the way you felt or saw a situation? SUVAM: There was a week when everything in the business felt like it was falling apart — an order delayed, a client unhappy. One afternoon, instead of trying to “push through,” I grabbed my camera and just walked. I ended up in a small alley where the late afternoon light was pouring through dust in the air, turning everything gold. I started shooting — near a bank of rivers, a stray cat watching me from a window. Ten minutes in, my breathing slowed, my shoulders dropped. I wasn’t thinking about deadlines anymore, just light, texture, and the quiet rhythm of the street. When I got home and looked at the images, the problems were still there, but they didn’t feel so big. Photography had shifted my perspective — from being stuck in the noise to noticing the beauty still humming in the background. That day reminded me why I call it oxygen. TPL: You often speak about preserving “unstaged events.” How do you train yourself to anticipate a moment without interfering with its authenticity? How do you decide when to approach and engage, and when to remain completely invisible? SUVAM: For me, it starts with patience and trust — patience to wait for a scene to unfold naturally, and trust that something worth capturing will happen if I’m attentive enough. I train myself by spending a lot of time simply observing, without even raising the camera. That way, I start to understand rhythms: how people move, how light shifts, how small gestures build into a moment. When I sense something is about to happen, I decide whether to engage or stay invisible based on the nature of the scene. If my presence might alter it, I keep my distance and shoot discreetly. If engagement will add to the connection — say, in a portrait or a shared smile — I step forward. The key is respect. I’m not there to “take” an image, I’m there to witness it. The best photographs, for me, are the ones where the subject forgets I’m even there, and the moment breathes on its own. TPL: In a city like Kolkata, where life moves quickly, how do you decide whether to wait for a scene to develop or move on in search of the next? SUVAM: It’s a constant negotiation between patience and restlessness. If the light, background, and energy of a place feel promising, I’ll stay — even if nothing’s happening yet — because I’ve learned the street can change in seconds. Sometimes the best photographs come from waiting for the scene to find me. But Kolkata has a rhythm that pulls you forward. If I sense the scene has settled — the light shifting away, the flow of people thinning, or the mood flattening — I move on without regret. The city is generous; there’s always another corner, another intersection of chance and beauty. Over time, I develop a gut sense for it, almost like listening to music. You know when the beat is building toward something, and when it’s fading out. I want my photographs to feel like a single frame from a film you’re desperate to see the rest of. TPL: Your influences span from Alex Webb’s layered color work to Martin Parr’s social documentary and Elliott Erwitt’s humour. Which of these photographers’ lessons have stayed with you most when you are actually out photographing? SUVAM: I can't say about particular shots but one thing I have noticed is that if i observe their photos their one thing is common and that is handling many subjects in a single frame carefully so that no one is overlapping with each other. The subject is balanced with the background as well as light and shadows also. Raghu Rai and Raghuveer Singh sir are my most favourite photographers who have shown how to capture the raw essence of Indian culture. TPL: Your upbringing involved books, painting, and films from many languages. How do those influences find their way into your photographs today? Can you share an example of a movie or series that has directly shaped how you approached a street scene? SUVAM: Growing up surrounded by books, painting, and multilingual films plants three distinct seeds in a street photographer’s mind: Reading trains us to think in arcs and subplots. On the street, this means we see not just a single moment but how a gesture or glance might suggest a larger, unseen story. Paintings sharpen our sense of palette, texture, and composition. You notice when the street offers you a “Vermeer” moment with side light and a warm interior glow, or a “Hopper” mood in the isolation of a lone figure at a café. Films teach timing, how a beat of stillness before an action can make it land harder. They also show how framing and movement guided emotion. Recently I have been so much influenced by the series called Picky Blinder which tells the story of Tomas Shelby. Each and every frame of the series is so inspiring to take your camera and go outside to click shots. TPL: Have you ever captured a moment that you later chose not to publish? What guided that decision? SUVAM: Some of my captured pictures I have not shared on any platform but particularly there is no reason behind that. Maybe I will share them in a different series which tells a strong story. TPL: You’ve said photography made you more comfortable talking to strangers. Can you recall a conversation sparked by your camera that stayed with you? SUVAM: One afternoon in Burrabazar, I was photographing the way afternoon light fell through the narrow lanes, cutting across stacks of fabric. An elderly shopkeeper noticed me hovering outside and called out, “If you only take the light, you will miss the stories.” He invited me in for tea, and what began as a polite chat turned into a two-hour conversation about how his father had started the shop before Partition, how trade routes shifted, and how the neighborhood’s rhythms changed over decades. I barely took a photograph in that time — just one frame of his hand resting on a ledger — but that image means more to me than most because it carries his voice, his history, and the reminder that the camera is not just a way to collect pictures, but a reason to be invited into someone’s world. TPL: You’ve shifted toward long-form documentary work. How does working on a series over time change the way you see individual frames? SUVAM: When we move into long-form documentary work, an individual frame stops being the story and becomes part of the story. In a single-shot mindset, we’re looking for an image that contains everything — the mood, the narrative, the visual punch — all in one. In a series, our relationship with each frame changes: Each image adds a facet: one gives context, another emotion, another tension. I start shooting with gaps in mind, knowing the series will be stronger when those gaps are filled. The power often emerges in the sequence, how one image sets up the next, how repetition or contrast builds meaning over time. Instead of chasing the peak moment every time, we can sit with the subject or location, letting relationships and patterns emerge. For me, working on a series makes me more forgiving and more curious. I can allow a frame to breathe, knowing it has companions that will help it speak. TPL: When someone looks at your work years from now, what do you hope they will understand about the time and place you lived in? SUVAM: I hope they’ll understand that the time I lived in was messy, layered, and alive with contradictions — that Kolkata, and the world beyond it, was constantly shifting between the old and the new, the personal and the collective. I want them to feel the texture of our streets: the way light caught on peeling posters, the quiet negotiations between strangers in crowded spaces, the humor that bloomed even in hardship. If my photographs survive, I want them to be read as a kind of emotional archaeology. Like proof that even in an age of speed and distraction, there were still people who stopped long enough to notice. Speaking with Suvam Saha, it becomes clear that photography is not a sideline to his life, but central to his artistic identity. Photography is a space where his instincts meet the unpredictability of the world outside his door. Each frame is a conversation between patience and impulse, structure and chance. And whether the story unfolds in a single image or across a series, Suvam's purpose remains the same: to hold onto the unrepeatable, if only for a moment longer. VIEW SUVAM'S PORTFOLIO Flickr >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

PICTORIAL STORY AMY'S ASHES February 26, 2021 PICTORIAL STORY Photography and story by Camille J. Wheeler Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Camille J. Wheeler lives and works as a photojournalist in Austin, Texas. Her principal concern is the documentation of social issues, and she often photographs and engages with Austin's homeless community. Camille shared with us the impactful story of one Austin resident: Brian (Scotty) and his mother Amy. A story that deserves to be told in her own words. In the winter of 2020, as Austin braced for the coronavirus outbreak, I met a woman named Amy, a member of the city’s downtown homeless community who spent her nights roaming Sixth Street. Uncharacteristically for me, a street photographer possessed of an insatiable curiosity and a love of people, I never interviewed Amy. I never engaged her in conversation. And in a decision that will haunt me forever, I never took her picture. Amy wore a heaviness like a cloak. She was small in stature, maybe just shy of 5 feet in height, and she walked with the odd, halting gait of the psychically wounded. Spring arrived in Austin, bringing with it the Covid-19 pandemic and the subsequent closures of bars on Sixth Street, the wild beating heart of the downtown Austin entertainment district. Face mask on, I became a denizen of the night in my own right, sporadically venturing to Sixth to hear one of my favorite street musicians, acoustic guitarist David Quick, perform outside a closed bar on what was now a virtually deserted thoroughfare. It was in this empty space that I began to take closer notice of Amy. I often saw her from a distance, walking alone. I respected Amy’s privacy. Sensing her depths of raw pain, and seeing her tired, forced smile, I decided not to pry into her personal life. A few times, Amy and I briefly stood together on Sixth, listening to David play. Our greetings were simple. A friendly nod, a quick hello before Amy ambled off, to locations unknown. What I didn’t know about Amy was substantial. I didn’t know that she grew up in Danville, Illinois, where she was a model student in school. I didn’t know that she was a mother of three children, including her eldest son, Brian, who was born in Danville and was living in the homeless community in South Austin, some five miles away. I didn’t know that Amy had come to the Austin area several years prior, trying to get her life back on track after suffering a series of personal setbacks. I didn’t know that Linda Addis, a close friend of Amy’s since their freshman year at Danville High School, had taken in Amy and her two sons, Brian and Zach, at her home in Bastrop, southeast of Austin. I didn’t know that Amy lost custody of her sons, sending her family into a destructive tailspin and sending Brian and Zach, 15 years apart in age, into the Texas foster care system. And I didn’t know that for Amy, the loss of her sons was a pain too great to bear. And neither I, nor anyone else, knew that on August 27, 2020, at approximately 12:30 a.m. in downtown Austin, a wayward bullet fired from a stranger’s gun would claim the life of Amy Lynn Warner, a mother, a daughter, and a friend to many, at the age of 51. There was no obituary for Amy, just short news articles summarizing what happened. In late August, Hurricane Laura evacuees from Southeast Texas were sheltering in Austin. On August 27, two evacuee groups began brawling near the intersection of Sixth and Brazos streets. Shots were fired, and Amy was accidentally killed. I gleaned more details from my friends on the street. Amy was standing on the Brazos Street sidewalk, right in front of a newly installed City of Austin water drinking station, when a fight erupted over an electric scooter. A man inside a car pulled out a gun. Four shots rang out, and one bullet tore through the stainless steel of the water station, ripping into Amy’s neck. She was rushed by ambulance to a hospital and died later that morning. Tragically, it was in Amy’s death that I began finding out about her life. From my friend Catherine “Cat” Fako, who knew Amy as a fellow street resident, I learned about Amy’s son Brian. In a strange twist of fate, he had lived with his mom in downtown Austin before moving to the city’s south side. Cat said she was worried about Brian, a sweet kid living on his own. Devastated that I had never gotten to know Amy, I resolved to find Brian. I didn’t know what kind of help I could offer him. But I wanted to try. So it was that I embarked on a mission of locating Brian, a journey that would take a heartbreaking turn of helping him find his mother’s ashes. In the ensuing months, I cautiously started looking for Brian in the homeless encampments in South Austin, respecting both the Coronavirus and the privacy of individuals whom I did not know. Eventually, I met a man named Hex, who lived in a tent beneath U.S. 290. Hex knew Brian — Scotty, as he was known — and graciously volunteered to help me find him. There are dozens of encampments and countless tents in this South Austin area. Even with Hex’s help, I kept failing. I couldn’t find Brian. On Thanksgiving Day in November, I was visiting with a homeless man at a gas station near the expanse of concrete where Hex lived. Hex saw me and walked over. He said he had just seen Scotty and would go get him. About 20 minutes later, Hex approached with Scotty, a sorrowful figure dressed entirely in black. Tears flooded my eyes. Scotty, a beautiful young man with red hair, a slender build, and twinkling blue-green eyes, was the spitting image of his mother. Hex left Scotty and me alone to talk. Scotty started crying. He said he had heard from several people that I was looking for him. He was overwhelmed that I cared. “I’m just happy that someone came around to talk to me,” he said, choking back tears. “Thank you.” His story, and his grief, came tumbling out. Brian Scott Smith, who prefers to be called Scotty, hadn’t seen his mother in about two years before her death. He learned of her passing from Linda, his mom’s longtime friend, who drove to South Austin from Bastrop and somehow found Scotty in the camp where he was staying. Scotty filled in missing details from the past. Amy and Zach, his little brother, moved from Danville to Bastrop, Texas, to live with Linda, a woman so close to Scotty’s family that he calls her his aunt. Eventually, Scotty joined his mom and brother in Bastrop. Amy lost her job, and, because of serious legal problems, lost her sons to foster care. Amy became homeless and joined the community beneath Interstate 35 in downtown Austin. Scotty and Zach were sent to a group home, where they were separated from each other. From the ages of 16 to 18, Scotty was shuffled between foster care homes in Texas. Desperately unhappy, he ran away more than once, and he wound up homeless as a teenager in downtown Austin. One day, shocked, he saw his mother under I-35. “Wow, Mom,” he asked, “how are you here?” Amy and Scotty stayed together for a while at a small camp, but Scotty was frightened by the violent crime in the area. Plus, tensions were high between him and his mom. They got into a heated argument, and he left, migrating to South Austin where he felt safer. Scotty was adrift, without a nuclear family. His father, Donald Smith of Ashmore, Illinois, died of cancer on July 27, 2020, one month before his mother was killed. His younger brother, who was about a year old when he and Scotty were separated, was sent to an undisclosed foster care location. As for his mother, Scotty had harbored a dream that they would someday live together under better circumstances. “All I was really hoping to do was get housed and then take my mom in,” he said. “Now I can’t do that.” What he needed the most, Scotty told me, was to learn where his mom’s body had been taken. “If she’s not at the coroner’s office, of all places, then where the hell is she?” he asked. “All I want is my mom’s ashes and to know where she is, if she got buried and I can go visit her grave.” He looked at me, tears shining in his eyes. “I’m sure my mom can see me right now. I miss her a lot.” I told Scotty I’d help with the search. I called the Travis County Medical Examiner’s Office but was denied information available only to family members. I next reached out to Linda Addis and her husband, Josh, the Bastrop couple who have done so much to help Scotty and his family. During a phone call in December, they told me that Amy’s body had been sent to Illinois, where Scotty’s half-sister has their mother’s ashes. I met again with Scotty six days before Christmas. Now living in a tent under U.S. 290, he thanked me for the information about his mom. He was grateful she went home to Illinois. “At least I know where she’s at,” he said. “She didn’t just disappear.” Undated photo of Amy Lynn Warner with her two oldest children, Brian and Katelynn Photos courtesy of Brian Scott Smith Undated photo of Amy Lynn Warner Photos courtesy of Brian Scott Smith On August 27, 2020, Trey Brewington was standing relatively close to Amy Lynn Warner when she was caught in the crossfire of two groups fighting on Sixth and Brazos Streets in downtown Austin. Amy was talking with an unidentified friend on the other side of this water drinking station, which stands on the Brazos sidewalk, just south of Sixth (in foreground). Two bullets, as Trey shows in this photo taken three days after the shooting, struck the water fountain. The top bullet lodged in the stainless steel of the fountain and didn’t pass through. The bullet that hit lower, more to the center, struck Amy in the neck. She was rushed by ambulance to a hospital, where she died in the early morning hours of August 27. Trey counted Amy as a close friend in the downtown Austin homeless community and is distraught in the wake of her death. © Camille J. Wheeler Watson Robertson, a homeless man on Sixth Street in October 2019 © Camille J. Wheeler When street photographer Camille J. Wheeler first met Brian Scott Smith, who goes by Scotty, on Thanksgiving Day in late November 2020, he cut a sorrowful figure dressed entirely in black. Brian, who goes by Scotty, is one of the younger members of Austin’s homeless community. At the age of 23, he is on his own without his mother, Amy Lynn Warner, who was shot to death in downtown Austin on August 27, 2020, his father, Donald Smith, who passed away in Illinois in July 2020, and his little brother, Zach, who is at an unknown location in the Texas foster care system. Scotty and Zach, who are 15 years apart in age, were separated at their first foster care placement. In a strange twist of fate, Scotty and his mom lived together in the downtown Austin homeless population before he migrated to the south side of the city. He still lives in South Austin, in a tent beneath the concrete expanse of the U.S. 290 highway. © Camille J. Wheeler © Camille J. Wheeler Scotty on his bicycle outside a local restaurant where he asks people to buy him meals. Ever resourceful, he taped a battery-operated clock to the handlebar assembly of his bike. © Camille J. Wheeler Scotty lives in a tent beneath the concrete expanse of the U.S. 290 highway. © Camille J. Wheeler With his red hair, slender build, and blue-green eyes, Scotty is the spitting image of his mother, Amy Lynn Warner, who was accidentally shot to death on August 27, 2020, in downtown Austin. © Camille J. Wheeler In March, Scotty will celebrate his 24th birthday without his mother or his brother, who is turning 9 in February. Scotty still doesn’t know where Zach is living. “I want him to know that he does have a brother out there, you know?” Scotty said, his voice cracking with emotion. “That he wasn’t just alone.” And Scotty wants me to tell his mother’s story — that she struggled with significant mental and physical health challenges. He wants people to understand “that my mom wasn’t just some other homeless person. That she had a family; she had people who cared.” Editor's Note: It's with deep sadness we write that Scotty passed away on August 5, 2021. He was only 24. view Camille's portfolio Read an interview with Camille >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. 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IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. 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Meryl's series “New York PARADISE LOST Bushwick Era Disco” is an intimate journey through the pandemonium and ecstasy of New York City from the 1970s to the early 1990s. Meryl documents a tumultuous time in the city’s history marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and fiscal crises. Frequenting Manhattan’s legendary discos that arose from the disorder, she captured hedonistic havens patronized by celebrities and revelers of the night. In contrast, daylight revealed the beauty of those who loved and thrived in burnt-out Bushwick, where Meryl worked as a public school art teacher and continuously documented her surroundings. Meryl’s effervescent photographs are a personal memoir - love letters filled with compassion, humor, and angst as well - kept secret for decades until she retired from teaching. Meryl was headed to Studio 54 the night of the ’77 blackout, and the next day, she and much of the world first heard of Bushwick - a hellish neighborhood where fires and looting had erupted. Later in 2013, at BIZARRE (a Bushwick drag/burlesque nightclub), Meryl noticed a disco ball in the restroom along with another above the dance floor. This was an epiphany. Bushwick was now THE sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided becoming intertwined strands of NYC’s story and her own journey. This is when Meryl realized her photographs of Manhattan nightlife and Bushwick daylight belonged together. Meryl’s two previous internationally acclaimed books, A Tale of Two Cities: Disco Era Bushwick (2014) and Purgatory & Paradise SASSY ‘70s Suburbia & The City (2015) were just the top of the iceberg. The artist continued to dig into her archive, finding hidden treasures. Her new book, New York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021) takes an unexpected turn from clandestine clubs to the classroom where students and staff create a safe space to learn despite societal ills of poverty and prejudice. Meisler’s street photographs radiate with the joys of daily life in contrast to a background of hardship. The nightlife images expose the edgiest, darkest activities the artist has shared to date. Flash forward four decades, and Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is a nostalgia and sorrow for what is lost in the process of change. Meryl lives and works in New York City and Woodstock, NY, continuing the photographic memoir she began in 1973 – a uniquely American story, sweet and sassy with a pinch of mystery. Her work is represented by ClampArt. MERYL MEISLER Meryl's series “New York PARADISE LOST Bushwick Era Disco” is an intimate journey through the pandemonium and ecstasy of New York City from the 1970s to the early 1990s. Meryl documents a tumultuous time in the city’s history marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and fiscal crises. Frequenting Manhattan’s legendary discos that arose from the disorder, she captured hedonistic havens patronized by celebrities and revelers of the night. In contrast, daylight revealed the beauty of those who loved and thrived in burnt-out Bushwick, where Meryl worked as a public school art teacher and continuously documented her surroundings. Meryl’s effervescent photographs are a personal memoir - love letters filled with compassion, humor, and angst as well - kept secret for decades until she retired from teaching. Meryl was headed to Studio 54 the night of the ’77 blackout, and the next day, she and much of the world first heard of Bushwick - a hellish neighborhood where fires and looting had erupted. Later in 2013, at BIZARRE (a Bushwick drag/burlesque nightclub), Meryl noticed a disco ball in the restroom along with another above the dance floor. This was an epiphany. Bushwick was now THE sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided becoming intertwined strands of NYC’s story and her own journey. This is when Meryl realized her photographs of Manhattan nightlife and Bushwick daylight belonged together. Meryl’s two previous internationally acclaimed books, A Tale of Two Cities: Disco Era Bushwick (2014) and Purgatory & Paradise SASSY ‘70s Suburbia & The City (2015) were just the top of the iceberg. The artist continued to dig into her archive, finding hidden treasures. Her new book, New York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021) takes an unexpected turn from clandestine clubs to the classroom where students and staff create a safe space to learn despite societal ills of poverty and prejudice. Meisler’s street photographs radiate with the joys of daily life in contrast to a background of hardship. The nightlife images expose the edgiest, darkest activities the artist has shared to date. Flash forward four decades, and Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is a nostalgia and sorrow for what is lost in the process of change. Meryl lives and works in New York City and Woodstock, NY, continuing the photographic memoir she began in 1973 – a uniquely American story, sweet and sassy with a pinch of mystery. Her work is represented by ClampArt. LOCATION New York USA CAMERA/S Graflex Norita (1970s & current), Minolta SRT101 (1970s), Canon Sure Short (1980s), Pentax K 1000 (1970s & 1980s), Pentax 6 x 7 (2001-2019, needs repair), Fujifilm X 100 (current) WEBSITE http://www.merylmeisler.com/ @MERYLMEISLER @MERYLMEISLER FEATURES // New York: Paradise Lost Quirkyvision

HOW DOES MY BODY HOLD ME IN THIS MOMENT AND TIME? With significant changes happening in her life, MG Vander Elst's sustained attention to examine her body led her to examine herself. HOW DOES MY BODY HOLD ME IN THIS MOMENT AND TIME? March 8, 2022 INTERVIEW PHOTOGRAPHY MG Vander Elst INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE On International Women's Day, it's time to recognize and celebrate the accomplishments of remarkable women like MG Vander Elst. Originally hailing from Belgium, MG's impressive career path has taken her to the United States, where she attended Atlanta's Portfolio Center and earned a degree in Advertising Photography with Honors. She then moved to New York City, where she has spent the last three decades as a professional photographer. MG is particularly renowned for her portraiture, which captures the subtle nuances and intimate moments of her subjects. She emphasizes vulnerability and authenticity in her work, and her poetic self-exploration project “How does my body hold me in this moment and time?” is a powerful testimony to this ethos. Through her sustained attention to herself, MG has rekindled the lost friendship she once had with her body and is now accepting it in all its glory. Today, we're honored to feature MG Vander Elst as part of our International Women's Day celebration. Her inspiring story and remarkable talent inspire us to strive for a world free of gender bias, and her words remind us to appreciate all that we have achieved and all that lies ahead. Join us in celebrating this incredible woman on International Women's Day. “With significant changes happening in my life I am returning to myself to find answers. How am I shifting and grappling with the change? What is the language of my body? What does this stillness mean? How does my body hold me? How do I make peace with myself? This sustained attention to examine my body leads me to examine myself. By this steady attention to my myself I am rekindling the lost friendship I once had and I am accepting how my body holds me in this moment in time.” IN CONVERSATION WITH MG VANDER ELST THE PICTORIAL LIST: MG please tell us what the story is behind your project HOW DOES MY BODY HOLD ME IN THIS MOMENT AND TIME? What inspired it and when did it begin? MG VANDER ELST: I started this project late last fall in a self portrait class with Samantha Box which led me down this path, in this work; the light, the simplicity of the image and the feeling it evokes are all elements that I try to infuse in the the work I make. TPL: As you stated, "with significant changes happening in my life, I am returning to myself to find answers." Did you find the answers? What did you learn and take from this project? What do you want the viewer to experience and take with them? MG: As a mother of a teenage boys one heading to college and another one heading to high school, a lot of my time and focus was spend on them, turning the camera on me is a way to rekindle a friendship with myself, appreciating and loving who I am today. This project is teaching me how important it is to take the time for myself, love the person I am today. I hope this is something the viewer can also take away. TPL: MG please tell us about yourself. MG: I grew up in Antwerp in Belgium. My parents loved and collected art and took us on numerous trips to museums. During school outings we often went to visit the Dutch Masters. I feel that all this exposure is imprinted in me and guides me every day when I am photographing. Currently I live in Brooklyn, New York with my family and I am working on my fine art work every day. TPL: What draws you to photography and art? How did your journey into photography begin? MG: I was unsure which direction to take in college, I ended up taking a gap year and became an au pair for a family of four girls which led me to take an evening photography class and the rest is history. TPL: What have been some of your favorite memories or moments in your photography journey? MG: I think this is because I have been photographing for a while but taking pictures for me is like having my cup of coffee every morning I must have it! With my self portrait project, each week I put some time aside to photograph this project sometimes with an idea or sometimes I am not sure of which part of me I will photograph but the end result is always one of learning or with a great result and leaving me wanting to push further. This project is teaching me how important it is to take the time for myself, love the person I am today. I hope this is something the viewer can also take away. TPL: Do you have any favorite artists and photographers? MG: There are lots of artist that inspire me and I often go to museums and galleries, here in New York we are spoiled. But to name a few, Irving Penn, JoAnn Verburg, Saul Leiter, Josef Albers, Georgia O’Keeffe, Laura Letinsky, Paul Klee, David Hockney and Morandi. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? MG: Irving Penn, for his mastery but also a photographer Jennifer Pritchard whom I recently discovered, a lot of her work speaks to me, the emotions she evokes in her images how she puts her images together and her practice, I would love to be alongside her for a day. 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? MG: I photograph most of my work with a Nikon Z7 and a 50mm lens, I also photograph with a Bronica 645 for other projects. In the future I see myself shooting with an analog Large Format Camera like a 4x5, this thought keeps popping in my mind as I l love the quality of black and white grain which I cannot attain with digital. I do very little post processing, just the basics. I started photography 30 years ago when everything was analog, I guess I have kept my editing choices as they were back then. TPL: Is there any advice that you would give yourself if you started photography all over again? MG: Keep shooting what comes naturally to you. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? What do you think is your next chapter in your exploration for future projects? MG: Continue to learn more, I am an avid learner and want to continue to learn more I think there is no end to what you can learn in photography, I currently am photographing a couple of different projects alongside this self portrait one, they both are still life one mainly with flowers the other one is more of table-top setting but in a minimalistic genre. I am curious to see where those two projects are heading. TPL: When I am not out photographing, I (like to)… MG: My family comes first and you will find me cooking and baking for my hungry teenagers or escaping the city for a hike with them. Nature inspires me a lot! MG Vander Elst has rekindled her lost friendship with her body and has created beautiful art in the process. Her story is a beautiful reminder of what we can achieve when we live authentically and unapologetically. Let us take this moment to thank and appreciate women everywhere for their stories, their strength, and their courage. Together, let us commit to creating a more equitable future for all. VIEW MG'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

SOCIAL STUDIES Argentinian photographer Victoria Gonzalez Garcia finds inspiration in her environment and explores social themes. SOCIAL STUDIES July 31, 2020 INTERVIEW PHOTOGRAPHY Victoria González Garcia INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Victoria González García is an Argentinian photographer currently based in Madrid. Born in Buenos Aires, she studied Social Communication at the University of Buenos Aires, then went on a student exchange scholarship to the Carlos III University of Madrid, Spain. She specialized in Photography, Film and Political and Social Video at the Complutense University of Madrid, Spain and is currently studying through distance learning for a diploma in Social Photography (The Camera as a Tool for Social Research) at the University of Buenos Aires, Argentina. We interviewed her for The Pictorial List. “Photography was always a part of my life, the Kodak reels and cameras. I remember that when I was little I loved posing for photos, my parents recorded my childhood and that of my sisters, our life, the acts at school, when we lost our first teeth, Christmas, holidays and every episode that marked something important for us or for our family. At 21 years old, I started to get interested in the photographic world and decided to start studying, so my parents gave me my first analog reflex camera as a support and incentive.” IN CONVERSATION WITH VICTORIA GONZALEZ GARCIA THE PICTORIAL LIST: Victoria, where do you find your inspiration? VICTORIA GONZALEZ GARCIA: I find it in life, in everyday life, in what surrounds me. But I am also restless and curious, it motivates me to learn new things all the time, whether it is discovering photographers, getting to know their work and careers, watching documentaries about photographic projects, knowing the history behind them, going to exhibitions, festivals, meeting people of that world and exchanging concerns. Trying new things, getting out of my comfort zone, shooting and giving myself up to the mere process of creation. TPL: Do you have a favourite genre of photography? VGG: I am very interested in the social, the documentary, and of course this is due to my social training. I want my camera to be a tool that helps me to visualize stories that can raise awareness or at least leave people thinking about some issues, be they social, political, cultural or ideological. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VGG: Saying I have a favorite artist or photographer would be a lie. I like many. For example, William Klein, Vivian Maier, Annie Leibovitz, Henri Cartier Bresson, Diane Arbus, Sara Facio, Paz Errazuriz, Adriana Lestido, Marcos López, Chema Madoz, Man Ray, etc., the list would be endless! I cannot say that only one has inspired my style, I think all of them have, and even some that I have not named above. Both photography, painting and cinema have set a precedent for me and have forged my style. TPL: Do you have a favourite place to photograph? VGG: No, I have no favorite places, all places can be great. I think more what defines it is not the place itself, but the connection with what you are photographing and what is generated around that relationship. Art is not a mirror to reflect the world, but a hammer with which to hit it. ~ Bertolt Brecht TPL: What characteristics do you think you need to become a 'good' photographer? Any tips or advice for someone just starting out? VGG: I think you can have the best camera in the world, but if you don't have a good eye, you don't have anything. I feel that the best advice I can give to those who are just beginning in the art world of painting with light, is to practice, to shoot a lot, to investigate, to study, that if something does not turn out as you would like, do not be discouraged, keep going, practicing. At least that's what I keep doing. A phrase that I say a lot when asked about this is "practice makes perfect". TPL: What camera(s) do you use? Do you have a preferred lens/focal length? VGG: I have two favorite cameras, my digital camera and my analog camera that has a 50mm lens which I usually use in my digital camera, exploiting all the artistic possibilities that it can offer me. TPL: Have you ever been involved in the arts before photography? VGG: No, never, the artistic world was always there and I was on the opposite side of the road, contemplating those things, from different fields that fascinated me. TPL: Are there any special projects you are currently working on? VGG: Yes, I am presenting 'Intervenidas', my first photographic and illustrated project carried out collectively among women that was born during the quarantine. It is a small series of my photos, which I sent to six women illustrators of different nationalities, so that without parameters or prior artistic criteria, they would “intervene” in them, trying to cross styles and two disciplines, photography and digital illustration. TPL: “When I'm not out photographing, I... VGG: I am thinking of the next photo I want to take.” Victoria González García has come a long way from her roots in Buenos Aires, Argentina in her pursuit of knowledge and expertise in Photography, Film and Political and Social Video. Her tireless efforts have taken her on a journey, from Argentina to Spain and back again, as she continues to expand her skills and learn new ways to use the camera as a tool for social research. By conquering such difficult terrain, Victoria has become an example of determination and success. We are proud to have had the chance to interview her and invite you to follow in her footsteps on her remarkable journey. VIEW VICTORIA'S PROFILE Read PANDEMIC POETRY by Victoria >>> Victoria's instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

Self-taught photographer, I see my camera as a trusted travel companion. Together, we journey through the world, capturing the deeply sensitive while remaining attuned to the echoes of the uncanny. The enigma of identity lies at the heart of our work — a practice that has been featured in festivals, collective exhibitions, and publications, both online and in galleries. We are particularly drawn to the creation of nomadic images: photographs that can stand alone, belong to a constellation, or migrate into different visual intimacies. Alongside my visual practice, I’ve spent nearly 12 years as a clinical psychologist, with articles published in psychoanalytically oriented journals, often drawing inspiration from the world of art. A bit more about me: Since I began my journey in photography two and a half years ago, two phrases have taken shape in my mind: “My camera is a mouth that devours everything” and “I move freely through the world like a lucky child in a mother’s arms.” I listen to these phrases and follow their breath, not knowing where they might take me. I hope they lead me ever closer to a place of pure sensation, beneath the rational thought of the ego. ANTON BOU Self-taught photographer, I see my camera as a trusted travel companion. Together, we journey through the world, capturing the deeply sensitive while remaining attuned to the echoes of the uncanny. The enigma of identity lies at the heart of our work — a practice that has been featured in festivals, collective exhibitions, and publications, both online and in galleries. We are particularly drawn to the creation of nomadic images: photographs that can stand alone, belong to a constellation, or migrate into different visual intimacies. Alongside my visual practice, I’ve spent nearly 12 years as a clinical psychologist, with articles published in psychoanalytically oriented journals, often drawing inspiration from the world of art. A bit more about me: Since I began my journey in photography two and a half years ago, two phrases have taken shape in my mind: “My camera is a mouth that devours everything” and “I move freely through the world like a lucky child in a mother’s arms.” I listen to these phrases and follow their breath, not knowing where they might take me. I hope they lead me ever closer to a place of pure sensation, beneath the rational thought of the ego. LOCATION Montreal CANADA CAMERA/S Fuji GFX-50sii @SPINNINGTOSUBLIME FEATURES // It Started as Light ... Ended in Shivers ...

PICTORIAL STORY VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and you are left with the sensation of stepping into a dreamscape. February 23, 2025 PICTORIAL STORY photography LORENZO VITALI story MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Lorenzo Vitali, a Milan-based photographer, has built his career around the relationship between classic and contemporary visual elements. His work has been featured in exhibitions, awards, and photography journals in Italy and internationally. Lorenzo’s photographs go beyond representation; they are carefully orchestrated dialogues between light, form, and emotion. His approach is methodical yet instinctive, engaging with his subjects in a way that transforms everyday scenes into captivating visual narratives. There is a creative duality that bridges time-honored techniques with modern experimentalism. Lorenzo’s engagement with evolving aesthetics reflects an acute sensitivity to the environments he captures, reinforcing photography’s role as both an expressive and investigative medium. His project Vanishing Venice is a deeply personal exploration of the city’s architectural identity through time, atmosphere, and perception. “Venice is a place close to my heart,” Lorenzo explains. “My father was Venetian, and I often visited during my childhood and adolescence. I have never been able to photograph Venice with the eye of a tourist.” Instead, Lorenzo’s work reflects a kinship forged from his heritage, creating strong connections and a clear understanding shaped by years of observation rather than fleeting moments. The city presents structures from different architectural styles, including Byzantine, Gothic, Renaissance, and Baroque. Venice is often perceived as a city frozen in time, a place where history stands still, but Lorenzo’s images challenge that idea. He is fascinated by how architectural styles fade and transform, blending into one another over time. “For a long time now, Venice seems like it will disappear, but in the end, it is always there,” he says. “The architectural styles overlap without rules because each owner up to a century ago decided the changes independently. A lot of stylistic disorder has been created, but somehow, it all comes together into a harmonious whole of rare beauty.” Lorenzo’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. His images suggest a city in flux, where every narrow canal and weathered facade tells a story of impermanence and resilience. In doing so, he not only documents the physical evolution of Venice but also invites a broader contemplation of how cultural and historical narratives are continuously rewritten by time and change — a reimagined Venice that is at once both nostalgic and visionary. Rather than seeking out the postcard-perfect Venice, Lorenzo searches for something deeper. “I certainly don’t look for beautiful views of Venice because I take its beauty for granted,” he says. “I look for the soul of the city. Venice has many houses of poor construction next to magnificent palaces. I look at everything with the same love: poor or magnificent is irrelevant to me.” His photographic language is fluid, ecstatic, and fleeting, mirroring the impermanence of Venice itself. “My idea of Venice is certainly impermanent because it is subject to evolution. It changes continuously and has no consistency over time,” he explains. The fog, a recurring presence in his images, plays a crucial role in shaping this perception. “January is the month in which Venice seduces me the most. These photos were all taken in January in fact. The fog enhances my perception of fleetingness and mutability because it modifies the vision of the architectural masses. It helps me to express my feelings for Venice beyond the physical.” Color and light also contribute to this sense of fragility and resilience. “The chromatic tones and light in my images bring back my perception of this place as delicate and fragile, but also resilient. In my mind, I assign this identity to Venice, but I do not exclude that for others it could be different.” © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali Lorenzo Vitali’s work is a confluence of history, art, and innovation. By documenting the evolving relationship between tradition and modernity, he invites viewers to see his cities not as a static relic but as a place in constant transformation, where history and modernity coexist in a delicate balance. Vanishing Venice serves as a reminder that cities, like photographs, exist in a constant state of change — preserved in one moment, yet always moving forward. His photography redefines the medium as both a record and a reinterpretation of a changing world. view Lorenzo Vitali's portfolio Website >>> Instagram >>> The Memory of the Female Body >>> An Arrhythmic Succession of Interrupted Pauses >>> Sahara: The Shape and the Shadow >>> They Have Gone >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance.

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

SUBCONSCIOUS PATTERNS Jake Dylan assesses objects in terms of tones and shapes allowing for the divorce of those objects from their figurative meanings. SUBCONSCIOUS PATTERNS September 2, 2020 INTERVIEW PHOTOGRAPHY Jake Dylan INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The art of photography is all about capturing the world around us – freezing a moment in time and preserving it for eternity. But for Jake Dylan, the American photographer from New York, it goes beyond the literal. His work is a study in conceptual abstraction, deliberately divorcing objects from their literal forms and placing them within an artistic framework. Through his thoughtful use of light, color and shape, Dylan’s photographs push the boundaries of art, transforming ordinary images into captivating works of art that explore the line between representation and abstraction. Join us as we take a closer look at this intriguing artist and his unique vision. “Subconscious patterns begin to take shape and reveal themselves over time, and when a pattern makes itself seen, I explore it more deeply.” IN CONVERSATION WITH JAKE DYLAN THE PICTORIAL LIST: Jake, can you please tell us when you started getting interested in photography? JAKE DYLAN: My grandfather was a photographer and an art dealer, so I more or less grew up with a camera in my hands. TPL: Has your style of photographing changed since you first started? JD: Yes. Style is a consequence, not a goal, so it is inherently ever-shifting. TPL: Do you have any favourite artists you would like to share with us? JD: Ray Metzker, El Lissitzky (his paintings more than his photographs), Aleksandr Rodchenko, Aaron Siskind, Harry Callahan, Ralph Gibson, and Fred Sandback. TPL: Where is your favourite place to photograph? JD: The street. The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark. - Michelangelo. TPL: Have you ever been involved in the artistic world before photography? JD: Although I did grow up with photography, I wanted to pursue acting for most of my teens. There came a point in time when I realised that I had far more questions about photography than acting, however, and a much stronger drive to explore those questions rather than any I had in regards to acting. TPL: How does the equipment you use help you in achieving your vision in your photography? What would you say to someone wanting to start out in your genre of photography? JD: What matters more is what you point the camera at rather than what you are pointing with. That being said, it is important to understand and explore a variety of equipment in order to know what best suits the subject that is being pointed at. TPL: Are there any special projects you are currently working on? JD: I am continuously exploring the line between representation and abstraction in photographs, and that exploration shows up in various forms. TPL: “When I am not out photographing, I (like to)... JD: Probably something creative, maybe acting, maybe something to do with fashion. Or I would go a different route altogether and make a life out of activism for environmental protection and/or animal rights.” Through his photography, Jake Dylan has provided a unique perspective of the world. His approach of deconstructing and assessing objects in terms of tones and shapes reveals a fresh take on the world and how it is captured in photographs. It's impossible to look at his work without recognizing the beauty and creativity of his vision. With his thought-provoking works, Jake has created an impressive body of work that deserves further exploration. Therefore, we invite you to take a closer look at this intriguing artist and his unique vision. VIEW JAKE'S PORTFOLIO read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

VITAMIN SEA Rosamaria Filograsso's sea is a lively place, a bright place of joy and a sort of natural vitamin supplement called VITAMIN SEA. VITAMIN SEA October 7, 2020 INTERVIEW PHOTOGRAPHY Rosamaria Filograsso INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The soothing sound of the waves crashing against the shore, the sun setting on the horizon, and the people playing in the crystal blue sea- these are all the things that attract self-taught photographer Rosamaria Filograsso to the art of photography. For her, it's like a superpower, a visionary look into reality that she can't find anywhere else. Through her lens, she's able to capture moments of joy, energy, and happiness that she can't find elsewhere. She uses this superpower to explore her hometown of Barletta, Italy, where her parents still live today. This is where she started her ongoing personal project called VITAMIN SEA. Here, Rosamaria has been able to dig deeper into her culture and explore the relationship between the people and the sea in a beach environment. In this interview, we explore Rosamaria's journey as a self-taught photographer and how she has used her superpower to capture moments of joy and energy through her lens. We will uncover how the sea has become an integral part of her life and how it has become her source of Vitamin Sea. So join us as we dive into Rosamaria’s story and explore the depths of her vision. “My sea is a lively place, a bright place of joy is a sort of natural vitamin supplement called VITAMIN SEA, where you are able to recharge one’s personal batteries like nothing else. Ready to make you feel alive again and full of energy.” IN CONVERSATION WITH ROSAMARIA FILOGRASSO THE PICTORIAL LIST: For your feature you sent us your photo project VITAMIN SEA. Rosamaria please tell us more about your project, what you were thinking about, and how you approached putting it together. ROSAMARIA FILOGRASSO: My project VITAMIN SEA had a casual birth, with the first photos dated back in 2010. It began to take a proper shape some years later when I bought my Nikon camera, my first 'grown up' camera. It was natural for me to bring it along during every summer holidays in my hometown of Barletta in the hot South of Italy where my parents still live by the sea. I documented summer and beach life and, year after year, when I was in Barletta or visiting another beach place in the South of Italy, I grew my collection of beach moments and beach people. A couple of years ago while scrolling through my archives I realized those images had a lot more in common that I would of thought, and I started to work with them to explicit the narrative hidden within. So, yes, I would say that here the photographs came first and helped shaping their inner story. And because every year I visit Barletta I will keep on working on the project for the years to come. I love witnessing the way the relationship between people and their life-by-the-sea is changing through the years, especially now as new generations follow. This is my first ongoing project, it is teaching me to get as organized as possible, because I only spend about ten days at the beach each year to take photos. So I must treat shooting time as carefully as I can. Dealing with a high number of photos is also crucial as both the selection and the editing part is not easy, plus it’s done over a long period of time. Finally, should I mention the greatest achievement I would say VITAMIN SEA pushed me to break the ice and to create a common field of trust with all the people I have met and photographed throughout the years. TPL: When did you start getting interested in photography? RF: I am a self-taught photographer living in Milan, but I am born and raised in Barletta, a city by the sea in the South of Italy. Although photography it’s not my job at the moment, I have gravitated around it all my life. My father was a keen photographer, he used to take tons of photos of me and my sister everyday and to collect cameras. I was fascinated that’s why when I was about 10 I asked for a camera, he bought me my first one and taught me photography. My partner is also a talented photographer. We love spending time discussing photography, going to photo exhibitions, buying photography books, commenting on the photos we take, playing each other’s photo editors. My 9-to-5 job is in marketing and communication, so also during my office life photography is on my radar, having I to deal with images and their power on a daily basis. TPL: Do you have a favourite quote that resonates with you the most? RF: Yes! Martin Parr once said: “Photography is the simplest thing in the world, but it is incredibly complicated to make it really work”. I think it’s 100% self-explanatory! Just clicking the shutter button is not enough to have a proper photo, and this is even more true nowadays where everybody is (or better: believes to be) a photographer. But I guess that’s a feature of the image-based society we’re living in that has, unfortunately, depreciated good photography. So it’s even more important to curate and support good and meaningful photography: it’s a matter of culture, which is fuel for progress in the society. TPL: Where do you find your inspiration? RF: Music and photography books are my greatest source of inspiration. They act like a mood board for when I have to start any photo essay! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RF: Luigi Ghirri and Martin Parr are my Maestri, those I rely to whenever I feel blah and uninspired. I understand it’s an odd pairing but I am hopelessly fascinated by opposites! In particular, Parr teaches me how to compose images when there are crowds involved, while Ghirri educates my eye putting serenity, calmness and poetry into photos. TPL: Where is your favorite place to photograph? RF: All places where people interact and do stuff...are my favourite! VITAMIN SEA pushed me to break the ice and to create a common field of trust with all the people I have met and photographed throughout the years. TPL: Has your style of photography changed since you first started? RF: Yes, it has changed and a lot. First, in terms of composition I improved greatly. Secondly (and related) my photography is grown up more in terms of “getting straight to the point”. I have learnt how to concentrate my photographic efforts towards one or few elements, (being it an interesting person, some gestures or a particular situation) shaping an image which is talkative about one story. Once I have mastered this, I want to add a higher level of complexity to my images, with different and multi-layered subjects so to create a longer narrative. TPL: Do you prefer to photograph alone or with friends? RF: Photographing with friends is not an option for me, because they would take my concentration away leaving me with zero productivity. Moreover, I am sure they would be fed up soon of spending time with a photographer in action constantly looking for the next interesting face or situation to visually explore. Sometimes I photograph with my partner - and I like that because obviously he knows how it works and what it means to spend the whole day walking and yearning for people and places interesting enough to contribute telling a story. TPL: What equipment do you prefer to use? Do you think equipment is important in achieving your vision in your photography? Do you have a preferred lens/focal length? RF: My camera is a Nikon D750 and 90% of the time I use a 50mm lens. I love that lens because it provides the right amount of distance if I want to photograph someone or something either near or far. Being not to wide it forces me to select the right elements to give importance to, and that really both simplifies and makes the process of taking a good photograph much more efficient. 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? Have you ever been involved in the artistic world before photography? RF: Photography is visionary, it has this amazing super power of going beyond reality, making you daydream: that’s exactly what I want to express with my images, and that’s exactly the reason why I consider photography as the visual sister of poetry. To achieve that, the elements I always try to include in my photographs are: simplicity, humor, a bit of surrealism. I love all art forms: music (I play bass guitar and sing), cinema (when I was younger I have been attending Venice International Film Festival as a jury member of one of the independent and unofficial awards), ancient and modern visual art, architecture, sculpture and design… but apart from attending exhibitions, museums, events etc. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? RF: I am planning to shape a photo essay “looking harder” and with more attention at people and habits of Milan, the city that welcomed me 21 years ago. The idea here is that the ordinary is always taken for granted and under-valuated just because it belongs to what’s familiar. We usually feel attracted by what’s uncharted, so my goal is to try and reverse that point of view and finding the exotic in the familiar. As an artist my main goal is to always use photography with the greatest sense of responsibility. The power of photography is to document our complicated world, so I hope to do so in a way that makes people appreciate what we are seeing, think in a non superficial way and - last but for for least - have a healthy laugh of ourselves if needed! With that in mind I wish to keep on improving both my narrative and composition skills and reach my professional aspiration of working as an editorial photographer for magazines. TPL: "When I am not out photographing, I (like to)… RF: Listen to The Beatles, I am their number one fan!" Rosamaria Filograsso's stunning photography serves as a reminder of the beauty that exists in the world and how, she is able to capture the people and culture around her. With every frame, we can experience the emotion and energy behind it, whether it's the calming effect of the waves or the joy of the people playing on the shoreline. We invite you to dive into more of Rosamaria’s photography and explore the depths of her vision. VIEW ROSAMARIA'S PORTFOLIO Rosamaria's website >>> Instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

OUT OF THE DARKNESS Through self portraiture Abbie Briggs has truly found herself. Photography has become a healing creative outlet for her. OUT OF THE DARKNESS April 26, 2020 INTERVIEW PHOTOGRAPHY Abbie Briggs INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Abbie Briggs has been struggling with mental health issues for most of her life, but when she got her first digital camera a few years ago, she found an unexpected source of solace. Through self-portraiture, Abbie has found her own healing creative outlet and come to terms with the struggles of her past. Photography has had a positive impact on Abbie's mental health, providing her with a means of self-expression and allowing her to explore her identity in a unique and meaningful way, enabling her to find a sense of peace and purpose. Join us as we explore Abbie’s journey in her pursuit of healing through the power of photography. “Evolve or die.” A simple reminder for me to keep moving and never stop growing. I also like it because it reminds me of Lily Tomlin...and Lily Tomlin always makes me happy. I first saw the phrase on a shirt she was wearing in a portrait by Norman Seeff. IN CONVERSATION WITH ABBIE BRIGGS THE PICTORIAL LIST: Abbie, please tell us when you started getting interested in photography? ABBIE BRIGGS: Even though I've only honored it more recently, I've been drawn to photography since I was little. Reflecting back I can see that it was something always trying to grab hold of me but I just never let it. So life went on and I hit some hard times and fell into a pretty deep depression. I was basically treading water until about the end of 2017 when a DSLR fell into my lap and I started getting to know it. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Where do you find your inspiration? AB: Nature, poetry, music, other artists and photographers. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AB: I'm a big fan of Julia Margaret Cameron and the way she brought stories and poems to life in her portraits. I also adore the work of Georgia O'Keeffe and Alfred Stieglitz. Both in their own right as artists but especially with what they created together. Anna Gaskell - especially her Turns Gravity series - gives me life every time I revisit. And I have to mention Bob Dylan and Patti Smith even though they aren't known for their photography. Their influence has played a big role in making me who I am and that makes my art what it is. So, yeah, credit where credit's due and all that. TPL: Has your style of photographing changed since you first started? AB: Absolutely. It takes time to find your style, I think. I also believe it's something that can keep evolving. Growth is good. TPL: Where is your favourite place to photograph? AB: My little home studio. It's my safe space for creating self portraits. But also anywhere out in nature -- the woods, botanical gardens or the wildflower garden that grows at a local park. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AB: I am definitely not a "gear person". Personally, I'm most fulfilled by challenging myself to get creative with what I've got. When I was first starting I was blinded by the promise of new equipment but realized that giving into that wasn't necessarily helping me create anything I loved. My focus was on what I thought I needed to do it better. So I decided to simplify. I chose just one of my lenses (nifty fifty was the winner) and shot with that exclusively for about a year. During that year I focused more on studying different genres and other photographers. It really opened me up creatively. It helped me find direction for the art I wanted to create. I do have a couple other lenses that I create with, as well as some filters and stuff for when I just need to mix it up a bit (because that's good for creativity too) but these days I'm only drawn to something new when I'm feeling sufficiently ready to grow my portrait setup in some way. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AB: I think being a good observer, having a good eye goes a long way. Keeping an open mind and a willingness to keep learning have definitely helped me grow as an artist. If you're into self portraiture I'd say authenticity is key. Stay true to yourself, trust yourself. Think through your ideas and get in touch with your emotions. Then tell your story. TPL: Have you ever been involved in the artistic world before photography? AB: I've always loved creating but it's usually just for myself. Collage is something I've dabbled in for years and I play with paint once in a while. Nothing professional though. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AB: I've got some bigger ideas brewing. That's all I'll say for now. TPL: "If I wasn't photographing I like to be... AB: I love to be outside but I always have my camera when I'm outside so… reading, writing, baking, or watching something nerdy or true crime related." Photography has been transformative for Abbie. She has discovered a newfound sense of self and meaning through self-portraiture. This creative outlet has become a necessity for her well-being and has allowed her to express her feelings. We are so inspired by Abbie’s story, and we invite you to join her on her journey. Please connect and follow Abbie through her Instagram to learn more about her creative process and to view her work. VIEW ABBIE'S PORTFOLIO Abbie's instagram >>> read more interviews >>> GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.