PICTORIAL STORY 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. July 13, 2025 PICTORIAL STORY photography GIORDANO SIMONCINI story MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In Bajo las nubes; La Resistencia Espiritual y Material Del Pueblo Quechua ( Under the Clouds; The Spiritual and Material Resistance of the Quechua People ), Italian photographer 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. What emerges is not simply a document of survival, but a meditation on interdependence, where the spiritual and the material are not separate spheres, but aspects of the same reality. Photographed in the Sacred Valley and Queros region, the project observes the rituals and exchanges that sustain life across a landscape shaped as much by spiritual belief as by physical labor. The Quechua people continue to live in close relation to the land, maintaining a system of knowledge shaped by oral tradition, ritual practice, and seasonal cycles. Their worldview is structured around a deep relationship with Pacha Mama , often translated as Mother Earth , but more accurately understood as a space-time entity encompassing soil, time, place, and energy. In this cosmology, land is not a resource, but a being. Reflecting on his experience, Giordano explains: “As soon as you enter those mountains and connect with the communities living there, you realize they are deeply intertwined expressions of the same form of resistance. A resistance that involves not only people, but the entire ecosystem.” Giordano’s photographs enter this space not to illustrate culture, but to observe how this way of life continues to exist under increasing strain. Climate disruption, extractive industry, and state development pressures have altered landscapes and threatened access to water, soil, and ancestral territory. Yet these communities persist in holding a vision in which balance is not idealised but enacted, day by day. Bajo las nubes offers a record of how a lifeway is lived, not discussed — how belief exists not in doctrine, but in gesture and repetition. This project invites the viewer into a relational worldview, where the human body is not separated from the land it inhabits. It raises questions about how one documents life without disrupting it, and how visual language might reflect forms of knowledge that do not speak through abstraction, but through presence. Born in Rome in 1997, Giordano Simoncini began photographing in 2016 during a personal journey through Patagonia. His academic background in philosophy, completed at Sapienza University, informs his approach to photography — one that draws from conceptual inquiry as much as from visual attention. His interest in long-form, observational work developed further through a workshop in Peru with Ernesto Bazan, former Magnum photographer, whose influence shaped both the thematic and ethical direction of this project, Bajo las nubes. Reflecting on the personal motivations behind the work, Giordano explains, “Since I was a child, I’ve had an animistic connection with nature — it’s the only form of belief I’ve ever felt truly mine. That’s probably why I chose to begin my first long-term work there: I immediately felt a strong sense of affinity with both the land and the people. It all unfolded naturally.” Giordano does not claim neutrality. His method involves proximity without dominance — photographing with deliberation, particularly when invited into private spaces. In Queros, he documented a family living with food scarcity who offered him to stay with them; “The most delicate moment didn’t come during the spectacular Quechua ceremonies, which I was able to narrate with immediacy and instinct. It happened instead in Queros, when a family, despite having very few potatoes left…invited me to share lunch and dinner and offered me a bed in a former sheep pen. That was the moment I most strongly felt the weight of my role. I decided to photograph slowly, without rushing, without trying to ‘capture’ something. I waited, simply observing their kindness in that intimate space, in order to return it as truthfully and naturally as possible.” Giordano embraces a form of witnessing that is active but unobtrusive. His role is not to disappear from the frame, but to remain accountable to it. The people in the images are not subjects to be studied, but participants in a shared space of exchange. His process invites viewers to consider not just what they are looking at, but how they are looking. The Quechua principle of harmony — expressed in the idea that all life is “half earth and half sky” — forms the conceptual and ethical axis of the project. This belief challenges anthropocentric frameworks by rejecting divisions between human and environment, body and spirit, labor and ritual. Giordano’s photographs do not claim to represent the Quechua people in totality. Rather, they offer a glimpse into a lived worldview, where cosmology is not an abstract system, but a way of moving through the world: in the tending of animals, the sharing of meals, the act of walking with purpose across land that is seen not as property, but as kin. This is the principle of “unite and create” — not a fixed idea, but a practice embedded in daily life. These gestures are not symbolic. They are the structure of life as it continues. Giordano does not impose a narrative, nor does he draw the work toward a singular conclusion. Instead, his photographs invite reflection — not only on the life he depicts, but on the assumptions, we bring to the act of viewing. The project does not seek to translate the Quechua worldview into terms more legible to an outside audience; it resists simplification and instead holds space for nuance and difference. As Giordano explains, “What I hope to do is raise a question, simply by showing — without filters — a way of life grounded in balance with the natural elements…I believe the urgency lies in questioning our own model, not in imposing a new one.” © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini © Giordano Simoncini This desire to provoke reflection rather than impose interpretation gives Bajo las nubes its contemporary significance. Giordano Simoncini’s restrained aesthetic and ethical approach allow the subjects to emerge not as objects of study, but as agents within their own systems of meaning and relation. They invite viewers to reconsider the structures — visual, political, environmental — that shape how we relate to the land and to one another. The work does not provide answers; it poses a question: what might we learn from a way of life where the human is not at the center, but one part of a greater whole? Bajo las nubes affirms that resistance is not always loud. Sometimes, it is quiet, ritualized, ancestral — and profoundly alive under the clouds. That same ethic of observation and restraint extends into Giordano’s broader photographic work, where he continues to explore the complex relationships between human communities, land, and the systems that shape them. His current project, based in Kenya, expands this inquiry into new territory. It documents the socio-environmental consequences of so-called “green” development policies and their impact on the Ogiek and Maasai communities — Indigenous peoples who, like the Quechua, face the ongoing erosion of ancestral land through displacement, conservation agendas, and extractive policy. Through this evolving body of work, Giordano Simoncini continues to ask how photography might bear witness without appropriation, and how it might make space for stories that speak not through volume, but through continuity, care, and presence. The photographs can be viewed through his portfolio, accessible via the links provided. view Giordano Simoncini's portfolio Read Giordiano’s full story of Bajo las nubes on the Guardian 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 >>> 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. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

FINDING NEW STORIES With a love for travel and to find new places and stories, Sandeep Kumar still identifies himself as a learner. FINDING NEW STORIES January 22, 2021 INTERVIEW PHOTOGRAPHY Sandeep Kumar INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sandeep Kumar is an Indian street and documentary photographer with a unique way of capturing life's most precious moments. His journey began in 2019, when he decided to take photography as a hobby while pursuing his Masters in Marketing. It wasn't long until Sandeep realized that street and documentary photography was his true passion. He loves to explore new places and tell stories through his photographs. For Sandeep, photography is a journey of learning, and he seeks to learn from all the people he meets along the way. With an eye for detail and a passion for storytelling, Sandeep is sure to capture life's most inspiring moments. “I always want to capture the uncaptured moment from our day to day in my own style which is generally ignored by us and forgotten. The candidness of the moment is one of the main things I tried to include in my work. I also try to compose my shot that enhances the subject of the photograph and makes it more expressive.” IN CONVERSATION WITH SANDEEP KUMAR THE PICTORIAL LIST: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SANDEEP KUMAR: A friend showed me the Ted Talk Episode of Sebastiao Salgado's "The Silent Drama of Photography" which made me a fan of his work and ideology. And recently, I also got to know the amazing photographer Mr. Rajesh Kumar Singh. I just love his documentary work. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? SK: I don't think the equipment does anything to improve vision. I use a Sony A7 III. I have only one lens that is Sony 28-70mm and I use it at 28mm most of the time. Vision is in mind, equipment helps to capture the vision you had for that shot. TPL: What are some of your goals as a photographer? Where do you see yourself or hope to see yourself in five years? SK: Well, I never thought of it...I am more likely to live in the present. I want to a become a well known photographer and inspire people through my work. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SK: Currently, I'm working on a project on Bricks Klein labourers and trying to get to know them and get an understanding for their stories and struggles. TPL: When I am not out photographing, I (like to)… SK: I love to travel, hanging out with friends and sometimes I play video games. Sandeep Kumar's journey of learning more about street and documentary photography and capturing life's most precious moments is something we can all learn from. We can take inspiration from Sandeep's willingness to explore new places and use photography as a way to tell stories. His ability to capture life's inspiring moments shows that he has an eye for detail and a passion for what he does. VIEW SANDEEP'S PORTFOLIO Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY FLORA ARCANA Flowers speak in a language we cannot hear, their dialogue carried on petals and light. Mário Pires listens with his eyes, capturing their silent poetry in images that invite us to see what lies beneath the bloom. July 1, 2022 PICTORIAL STORY photography MARIO PIRES story MARIO PIRES SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Flora - the name by which the Roman goddess of plants, flowers and fertility was known. The fact that we can find prior deities with similar characteristics (such as the nymph Chloris from Greek mythology), only goes to show mankind’s immemorial fascination with flowers’ exuberance and variety. Arcana - singular feminine form of arcano (in Portuguese), from the Latin arcanus . Meaning secret, obscure, mysterious, known only to a small group of people. Flowers have their own language and communicate between themselves in a dimension inaccessible to humans. I believe that once existed a common language that enabled all living creatures to communicate with each other, but humans have forgotten that language, just like we’ve forgotten everything else that connected us to the natural world. We wanted to create our own world, with our own rules, in a vain attempt to surpass nature’s ingenuity. Flowers are life sources, spreading their seeds, far beyond their location. The connection we had with that fertilizing power has long been lost. My wish to rebuild that lost connection was this project’s guiding light. Each of these images tries to break that barrier and restore the lost bond between us. © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires © Mario Pires Working and living in Lisbon, Portugal, Mário has a double life. By day he lends his energy and knowledge to a training centre. By night he drinks from the cup of his creation and becomes an alchemist. He works in photography, both digital and analog, video, calligraphy and music. Mário started capturing light in 1984. He believes that rust never sleeps, and that we should keep adapting, learning and evolving. He believes in the redeeming power of beauty. He believes that goddesses, muses and nymphs exist to guide the artist in finding a way out of the chaos of his internal labyrinth. He believes that artists should not be defined by the tools they use, but their work and actions. He believes that an artist's fire is only kept alive when they immerse fearlessly into their unconscious. He believes that artists never retire, unless it is for a short while to a house in the woods. view Mario's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

I am enamoured with photography and the visual arts. Through photography, I can express my perception of reality and tell my unique vision with an emotional approach more than a rational one. People and nature are my favourite subjects - the latter constantly surprises me! Having started out in analogue photography, I put my passion on pause for a few years due to personal matters. However, digital photography did not completely replace my beloved analogue cameras. I prefer creating stories with photos, but I also enjoy experimenting artistically. Photodynamism and ancient printing techniques such as cyanotype are two techniques I have dabbled in, and recently, I've been using analogue cameras to make film soup. The best thing about experimenting is the unexpected and one-of-a-kind results! With the goal of realising projects and small photographic stories, I have been honing my processing and editing techniques to better express my thoughts on a given subject. Though my training is largely self-taught, I recently took courses in storytelling to deepen my knowledge in the area. More recently, I have been collaborating with an association to organise an event on visual arts, displaying my works in several group exhibitions, festivals and photography circuits. In 2021, I achieved the pinnacle of these successes with my first solo exhibition, ‘Eurythmia’. Additionally, some of my works can be found in sector publications and I have been a winner in multiple national competitions organised by Fiaf - the Italian Federation of Photographic Associations - which honoured me this year. IDA DI PASQUALE I am enamoured with photography and the visual arts. Through photography, I can express my perception of reality and tell my unique vision with an emotional approach more than a rational one. People and nature are my favourite subjects - the latter constantly surprises me! Having started out in analogue photography, I put my passion on pause for a few years due to personal matters. However, digital photography did not completely replace my beloved analogue cameras. I prefer creating stories with photos, but I also enjoy experimenting artistically. Photodynamism and ancient printing techniques such as cyanotype are two techniques I have dabbled in, and recently, I've been using analogue cameras to make film soup. The best thing about experimenting is the unexpected and one-of-a-kind results! With the goal of realising projects and small photographic stories, I have been honing my processing and editing techniques to better express my thoughts on a given subject. Though my training is largely self-taught, I recently took courses in storytelling to deepen my knowledge in the area. More recently, I have been collaborating with an association to organise an event on visual arts, displaying my works in several group exhibitions, festivals and photography circuits. In 2021, I achieved the pinnacle of these successes with my first solo exhibition, ‘Eurythmia’. Additionally, some of my works can be found in sector publications and I have been a winner in multiple national competitions organised by Fiaf - the Italian Federation of Photographic Associations - which honoured me this year. LOCATION Rome ITALY CAMERA/S Nikon D90, Nikon D610 WEBSITE https://www.artlimited.net/1063270 @IDADIPA @IDADIPAPHOTO FEATURES // Cracks To Mend

My passion in photography lies in the street. Street photography for me is the exciting form of photography where I can capture the spontaneous moments of everyday life on the street. It is challenging because it often involves observing and looking for something interesting in an ordinary place. JAN PONNET My passion in photography lies in the street. Street photography for me is the exciting form of photography where I can capture the spontaneous moments of everyday life on the street. It is challenging because it often involves observing and looking for something interesting in an ordinary place. LOCATION Antwerp BELGIUM CAMERA/S Leica M10 Monochrom WEBSITE https://japocladek.myportfolio.com/ @JAPO.CLADEK FEATURES // Human Contact

NEW REALITIES IN VISUAL POETRY Enter Monika Jurga's surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. NEW REALITIES IN VISUAL POETRY March 31, 2023 INTERVIEW PHOTOGRAPHY Monika Jurga INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Monika Jurga is from Poland, living in different areas, from East to West, while residing for a while in the capital, Warsaw. Monika does not work as a professional photographer, giving her the freedom to explore the photographic world in her own artistic ways. She creates uninhibited by the pressures of producing her work for anyone but herself. She is not burdened with photographic equipment, and often her phone is the catalyst for capturing what is in her mind's eye. Monika’s images are playful, toying with exaggerated surreal elements, juxtaposed to photographic visual clues based in reality. She ignites the imagination, asking the viewer to embrace the bizarre, captivating them to enter her world, where the traces of reality are blurred and fantasy becomes the new reality. Monika is a visual storyteller, who finds unique ways of defining the world around her, where anything she can imagine becomes the inspiration that drives her work. She has been described as a “Visual Poetess” translating her imagery into poetic prose. We have the pleasure of presenting the work of Monika Jurga. Enter her surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. “Telling stories is what is important to me, because I think to myself that one life is not enough, so I live my life in my stories. When people say that they find themselves in my stories, that they are their stories too, it makes me very happy.” IN CONVERSATION WITH MONIKA JURGA THE PICTORIAL LIST: Hello Monika, please tell us about yourself. MONIKA JURGA: I am from Poland. I do not do photography professionally. Sometimes what I do can hardly be called photography at all. Even my camera is not a camera “Sensu Stricto”, because it is mostly just a cell phone. All that I do is just a hobby. The nicest and most beloved hobby in the world! TPL: What would you say first drew you to photography? What is it about the medium that supports your work? MJ: I grew up in a house full of art. An artist dad and a mom, a woman full of imagination. I was surrounded by paintings, drawings, lots of albums and books on art. My two uncles had photographic ateliers, my aunt meticulously documented my childhood on slides, and my mother developed color films herself in a small bathroom. Something must have grown out of that. I got my first camera when I was 8, but to be honest, I wasn't attracted to it then. I'm not sure what exactly attracted me to photography but I think it was my inability to draw combined with the desire to express myself and show my world...and that's how it started. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? MJ: I find it difficult to describe my photographs. Each work is different, because I have a thousand ideas and a thousand ways to express them. In the end it is what satisfies me. I am not trying to achieve anything artistically. I would not dare to call myself an artist. I go my own way and I'm very happy that someone likes my works, that someone can relate with it. That's very nice. TPL: Monika, your work has a surreal aesthetic, can you describe the creative process involved with the capturing of your photographs, and then the inspiration you find in editing them? MJ: The creative process looks very different. For sure, it always starts with a photo and then I play with textures, overlays, make collages, add-on, cut, peel and stick, mix and mix for so long, until something that I like appears. And so, from an ordinary photo a picture or a whole story is made, often surreal. TPL: How have you trained your eye to see the surreal world you portray, making references to reality, emphasizing everyday objects? MJ: This kind of looking is due to my parents, home, books, paintings, exhibitions, thanks to which I have a kind of sensitivity that helps me see more sometimes. Despite my chaotic nature, I am very attentive, both to people and to everything around me, even the simplest objects. TPL: What importance does storytelling or key themes hold for you? MJ: I tell these stories mostly to myself. It often happens that I do a very cheerful and bright job when I am sad and would preferably not get out from under the blanket, and vice versa, when I am gushing with happiness, I do something gloomy. It's all about balance. In my photo bag is: wallet, keys, raspberry lipstick and of course...cell phone because it is my current camera. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? MJ: I have many favorite artists. Sometimes I worship their entire oeuvre, sometimes it is one tiny picture, a few sounds, a few gestures or a detail that impressed me at different stages of my life. I will try to list them in one breath: Klee, Miró, Chagall, Hundertwasser, Eliasson, Zaha Hadid, Lewis Carroll, Leiter, Bruno Schulz, Roy Andersson, Kafka, Calvino, Maria Anto, Steinberg, William Blake, Ueda, Konopka, Batsheva Dance Company, Quay, Koudelka, Narahara, Wes Anderson, Woodman, Satie, Ballen,...uff, I could go on listing like this until tomorrow! TPL: What’s in your camera bag, is your equipment an integral part of your practice? What software do you use to process and visually render your compelling imagery? MJ: In my photo bag is: wallet, keys, raspberry lipstick and of course...cell phone because it is my current camera. My cameras have always been small and did not require special bags, because they used to be either matchbox cameras or Holga medium format, and Lomo, Lomography cameras. In my house, of course, there are the truest and most diverse cameras but I don't touch them, because they are not necessary for me. On the other hand, if I have to talk about software then there is more. I use a lot of programs and applications, but I will let their names remain my sweet secret. I use these programs depending on the need, and as I mentioned I mix and match. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? MJ: At the moment I am working on the project “Light”, for which I was invited to Amsterdam. It's a big challenge for me but slowly the ideas are coming out of the shadows, brightening up and heading towards “Light”. I hope that by the end of May everything will be clear. I don't have specific photographic goals, I let it all flow. Where would I like to be in 5 years? You'll probably be surprised, but in 5 years I'd like to be exactly where I am, because I feel like this is my happy time and happy place. TPL: If you could just choose one photographer or artist to shoot or collaborate with for a day...who would you choose? And why? MJ: I have so many favorite photographers that I could spend each of the 365 days of the year with each one separately but yes most, most, I would like to wander around the city with Ms. Eva Rubinstein. She is my great love at the moment and I think we would have a great time together. TPL: What is the most rewarding part of being a photographer for you? MJ: What I enjoy most are the kind words and gestures and the emergence of a kind of bond and understanding between us. That is the nicest thing! TPL: “When I am not out photographing, I (like to)… I like London fog, traditional Jewish songs, Czech films, Scandinavian crime stories, French language, Spanish spring, Portuguese wine, Norwegian fjords, Breton pancakes, Scottish tartan and Italian ice creams, but most of all, I love traveling the world.” The Pictorial List would like to thank Monika for her expressive approach to photography. As photographers we can often get bogged down in camera equipment, creating work professionally to satisfy a clients needs, while Monika creates without inhibition and her inspirational motivation is pure imagination. Follow Monika on Instagram and experience a new reality for yourself. VIEW MONIKA'S PORTFOLIO Instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY THE RESURRECTION OF RUBINO Gary Nolan opens a window into the life of Aaron Rubino, tracing the life of a photographer whose work captured the spirit and contradictions of a past era. Through forgotten frames and untold stories, this is a chance to rediscover a time gone by. January 22, 2023 PICTORIAL STORY photography AARON RUBINO story GARY NOLAN introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link As photographers we often wonder what will happen to our archives after we are gone. Will our photographic journey continue? Or do our images die with us like our last thoughts when we take our final breath? For some, photography was their profession, besides a passion, taking thousands of images that one day will become the responsibility of someone else. The burden to archive and care for another photographer's negatives, while respecting their relationship to their camera and the connections they made through the lens. A daunting task for anyone. We have the great pleasure of highlighting a photographer's work that has been tucked away, and hiding in the shadows, being cared for by a friend. Recently they were offered to Gary Nolan. They trusted Gary to keep them safe and shed some light on Aaron Rubino’s photography and respect the memory of his friend. Gary shares how he acquired this archive of Aaron Rubino, and what his thoughts have been while witnessing the visual stories that have been left now in his care. Gary raises many interesting questions and has invested much time and thought addressing issues that as photographers we all will face, when we no longer see through the lens. After visiting my elderly friend Tom in San Francisco earlier this year, I returned home in possession of a large set of negatives (1700+) taken by Aaron Rubino, his deceased friend who had given him the film years earlier. The cache of negatives had recently escaped serious water damage from a pipe break and Tom, now considered a quadriplegic in the state of California and battling cancer, was starting to wonder what would happen to everything after he was gone. Since I had been involved in photography and imaging for most of my career, he insisted I take them. Rubino had been a photojournalist and had a freelance business in the city as well. Looking over the sparse notations scribbled on the negative sleeves, most of the photo shoots and sessions were from the period 1944-1949, with the majority dated 1944 or 1945. Subject matter was all over the map - group and PR shots, weddings, sports, entertainers, politicians, street scenes, some WWII related stuff, fashion, even a few ‘boudoir’ type images. My friend was not certain why he’d ended up with all the film, saying Rubino had no interest in any of it near the end of his life and just offered them up to Tom without much comment or reason. After looking through many of the negatives and scanning a few on my return to Ohio, I felt some of the images possessed an oddly interesting aesthetic. They also presented a weird tableau of the times and possibly had some historical interest. What I had not anticipated was feeling an odd affinity to the images, the photographer, and even the people in the photos. Even more, it started me questioning the nature of photos again and asking why these images, perhaps given their age, invoked some peculiar, different, and somewhat random thoughts. A PARALLEL UNIVERSE At first glance, the images somehow look a bit surreal and, at times, almost cartoonish. A few other people I showed them to have the same reaction - something like seeing a sci-fi film about a parallel world, one similar to ours on the surface yet different in some fundamental, non-obvious way. Why? Is it simply because of the age of the images? Do photos have an expiration date or a half-life? Do they suddenly pass from being contemporary and recognizable before fading into some frozen diorama of antique irrelevance? People are still people and yet the props, the clothing, the state of technology all conspire to create some parallel world - something vaguely familiar but somehow quite distant and foreign from what we know. It is a curious phenomenon. An argument can be made, as Marshall McLuhan did in 1964, that the medium is the message . The reason these images influence us this way is dictated by the photography - the lack of color, the use of a hard on-camera flash, the peculiarities of the camera or lens, the technical limitations of the film, on and on. Since the medium was less accessible to many back then, everything that survives and persists in our collective culture has a similar look and feel, caused solely by the distinctive images produced by the press cameras and flashbulbs of the day. Still, there’s more than just the medium embedded in those messages. Cultural norms are everywhere in the photos - dress fashions, hair styles, furnishings, decor, architecture. Signs of technology also creep in at every turn - automobiles, kitchen appliances, microphones, airplanes, sports equipment, cash registers, telephones, etc. Our visual landscape has shifted so radically that those things appear only vaguely familiar and seem more like museum oddities. Even the sometimes-stilted posing and exaggerated expressions create a sense of simulated reality, adding to the already alien feeling running through the images. Other than a few subjects in the photos staring back and breaking the fifth wall, it is difficult to identify with any of it. I suppose if cell phone photos were as ubiquitous then as now, we would be having a completely different discussion about this, but unfortunately, I think it is reasonable to say that nearly all images will suffer this same fate. As a corollary, I also think it’s inevitable that we may all look like cartoon characters in images viewed by future generations given the passage of enough time. About 75 years have passed since most of Rubino’s photos were captured and that number could be a defining line - about 2 generations - where technology and social norms shift so much that anyone viewing in the future may be more distracted by the differences and no longer see the similarities. If we add in the exponential growth of technology (Moore’s Law) and the accelerated rate of change caused by the web and social media, the defining line where the familiar passes some event horizon and out of existence could be compressed to a much shorter span of years. DEAD PEOPLE WALKING The other, perhaps obvious, observation is that most of the people in these images are now dead. All the muscular boxers, crowds on the street, women trying to look attractive, sailors, politicians, weddinggoers, businessmen, athletic teams - probably all gone. The more I scanned, the more I started getting concerned about that fact. Who were these people? How had their lives turned out? Did they have families? Had they been happy? Venturing down that philosophical road was, I realized, probably a one-way journey, yet I felt a lot of expectant eyes staring back at me while I retouched and adjusted digital images. All the film had sat, somewhere, dormant for over 70 years since being viewed or printed - perhaps some of them had never been seen. Now they were back on the screen, being viewed by myself and a few others. It was as if I had poured water over these two-dimensional pieces of celluloid and witnessed the reanimation of all these people - watching the smiles and the bright eyes coming back to life, realizing that those people are not a day older than they were in 1944 or 1945. In earlier times, Native Americans were wary about having their photographs taken, fearing the process stole part or all of their souls. Perhaps it sounds strange, but I considered that notion too for a time while working with these images, as if some unknown part of these people had now resurfaced, returning some of the essence of what was ‘taken’ from them in that original moment the photo was shot. They are physically gone, but this dancing chimera remains on screen, so what exactly is it that’s left? Do I now owe them some debt after waking them from their long slumber? As I said, this thinking is perhaps a one-way road, but nonetheless, there’s no doubt my efforts have rekindled some small slice of their existence. I’ve recently seen AI (artificial intelligence) programs that will bring old images back to life by creating new animations from a still photo (one such tool is called Deep Nostalgia ). Apparently, it does not take a great deal of data for a neural network to infer or interpolate varying new facial angles, expressions, etc. Clearly, what is taken in an original photograph can be used to recreate a sum far greater than its parts, so perhaps I am not so far off in feeling as I do about all these now dead people in Rubino’s images. If this reanimation technology is only in its infancy, there’s no telling where it could end up in rendering or creating actual revived versions of people (think ahead 75 years). WHO CARES ANYWAY? Aside from a few byline photos from his time as a photojournalist, there seems to be little info available about Aaron Rubino (at least online) - no articles, no obituary, no real context. My friend Tom added little, saying only that he was a crazy old guy living in an unhappy marriage - they had never even discussed photography. It’s not that I felt so curious, but it seemed possible I was holding the last, large chunk of this guy’s work. If I pitched everything, were the last remains of his life going too? Because all these pieces of film were now in my hands, did they confer some hidden contract of responsibility, even though I never knew the man? I can argue that some of Rubino’s photos are quite good, but a more objective or critical person might say most are mediocre at best. I would not necessarily argue with that assessment. There are plenty of mundane head shots, stereotypical wedding aisle snaps, and boring corporate PR images. Maybe it’s only some of the known names in the photos (Truman, Roosevelt, etc.) or the historical venues pictured that lend some value to the images. And what about Rubino? Did he ever think he was shooting for posterity or creating art? I doubt it. I have a feeling it was mostly about the money for him, so again, why should I care where these ends up? There is some interest in ’vernacular’ or found images these days, but they seem to favor the oddities of humanity or the fringes of human culture. Many of those images revel in the exceptions, the anomalies, and the peculiar. For just the opposite reasons, some of Rubino’s images feel more human and compelling - people are viewed at their jobs or doing what they enjoy with the photographer trying to show them in the best possible light. Isn’t that basically what we do most of the time anyway? His photographs show a range of life as it was, perhaps mundane, even average, but not the edge cases or the extremes that often get attention. Certainly, there is something worth preserving because of that alone. Beyond revealing some of the zeitgeist of the era, the images, viewed now, also reinforce that rather trite, but not insignificant, idea of how relative and transitory everything and everyone around us is. Perhaps it’s only projection on my part, but I’ve always assumed most artists and photographers want their work to persist beyond their lives and somehow keep influencing the world from beyond the grave. Maybe Rubino understood something I have still failed to grasp - there is a time to let things go and perhaps that is what he did by giving them away. He knew the purpose behind the images and understood they had a short shelf-life. Still, I’m only guessing about his motivations and, in the end, feel an unease in making those final decisions for him, especially since some of his family pictures are intermingled. Perhaps it is something like unexpectedly ending up with a dead neighbor’s pet - you house it, feed it, and then either keep it or try to find it a good home. In the end, the images are not really mine - I’m now just the caretaker and offer them up as such. "Dimond Palace, 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Fox West Coast Theater - Nob Hill Premier - Wed. June 13, 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Star Time, 1944" © Aaron Rubino (Captions from data written on negative sleeves.) "Market St Car Union, #1008 crowds on street cars from 5:30 to 6:10pm" - 1944 © Aaron Rubino (Captions from data written on negative sleeves.) "Von Morpingo, Dance Groop, April 1946" © Aaron Rubino (Captions from data written on negative sleeves.) "Ident Job, Steamship Co." - 1945 © Aaron Rubino (Captions from data written on negative sleeves.) "Prize Winning Football Pix, Sept 23, 1945, Calif vs St Marys" © Aaron Rubino (Captions from data written on negative sleeves.) "Mrs. Ute, 2771 30th Ave, Se 1-6072" - no date © Aaron Rubino (Captions from data written on negative sleeves.) "Roller Skating Gals at Bowling (Bagdad), Jun 21, 1946" © Aaron Rubino (Captions from data written on negative sleeves.) "Dewey in SF, Crowd shot, 1944, Print for Mr. Tobin & Cameron" - 1944 © Aaron Rubino (Captions from data written on negative sleeves.) "Eloise, 2nd sitting, 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Pauls Fountain, 542 Geary St" - 1944 © Aaron Rubino (Captions from data written on negative sleeves.) "Mrs. Greeley 54 Sonoma St. Sutter 1953 3.00 per neg 1.50 8x10 print matt -1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Boxing at St. Agnes Church Gym, Jan 18, 1949" © Aaron Rubino (Captions from data written on negative sleeves.) "Nassar Bros Theatres, Feb 22, 1947" © Aaron Rubino (Captions from data written on negative sleeves.) "44R 677-680 U.S.O - 70 Oak St. July 17, 1944" © Aaron Rubino (Captions from data written on negative sleeves.) "V.J. Day Idelle and Doctor Golden 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Rhoda, Oct 28, 1946" © Aaron Rubino (Captions from data written on negative sleeves.) The Pictorial List thanks Gary for bringing this story to us, giving us an opportunity to see a glimpse into the life of a photographer during this eclectic era in history. We respectfully honor Aaron Rubino’s work and his contribution to photography in his day. Gary has recently asked who may be interested in archiving these precious negatives of the past. They are a lovely depiction of life during a magical era in history in America, by a photographer that was committed to his work as a photojournalist, and freelance photographer documenting life as he saw it, through the lens. If interested, please contact us via email and we will pass it on to Gary. view Aaron's portfolio For more information please direct message Gary via 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 >>> 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. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

PICTORIAL STORY TAKING THE PLUNGE Carol Dronsfield brings us face to face with the fearless members of the Coney Island Polar Bear Club — those who plunge into icy waters not just for the thrill, but for the spirit of it all. Her photographs reveal the heart, humor, and humanity behind this winter ritual. June 2, 2023 PICTORIAL STORY photography CAROL DRONSFIELD story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link While we all put our toes in the sand as the sun kisses our face at beaches by the sea in summer, some regulars at Coney Island swim all year around. There are these amazing individuals who are part of an integral part of the Coney Island community called the Coney Island Polar Bears, famous for their outrageous New Year's Day Plunge. The Coney Island Polar Bear Club’s official season meets every Sunday from mid-November through mid-April on the cold shores of Coney Island. They share their inspiration and drive with us through the eyes of Carol Dronsfield, capturing the spirit of the Bears through her lens. Carol is a familiar and inspirational part of The Pictorial List community of photographers. Carol was born in Hartford, Connecticut and currently lives in Brooklyn, New York. Her career began as an advertising art director on Madison Avenue, where she developed a particular passion for photography. Drawn to her unique and emotionally engaging style, clients began asking Carol to step behind the camera to shoot their ads. She has been shooting commercially ever since. Her recent personal work centers on street photography, seeking out the humanity of her subjects against the often-harsh background of their urban surroundings. Carol says, “Living and working in NYC for over 30 years, I realized that I never had really seen the city. Shooting the streets of NYC is like my own personal theater. There are many acts, never quite the same. I walk around with my eyes wide open; my mind open to what is happening before my eyes. The city and especially its people are my inspiration.” Carol has committed herself to the inspiration the Coney Island Polar Bears bring from November through April. Many of Carol’s Sundays are spent not only photographing but making honest connections. She shares her time with a community she thrives in and inspires her visual storytelling. Carol shares her commitment and dedication to the community she is inspired by. “I photographed the Bears, an eclectic tribe of dedicated winter swimmers, on 17 different Sundays during the 2022/2023 season. A typical day at the height of the Bears’ season: Water temp 38 degrees. Air temp 32 degrees. Wind chill, brutal. The Polar Bears arrive at their clubhouse which is owned by the NY Aquarium in Coney Island at around 12:00. Some hang out on the boardwalk. Some like to chat with the photographers. Sometimes there’s a photo op there. Close to 1:00, I head down to the shoreline, usually with a few other photographers. The Bears arrive and form a circle for jumping jacks, then head into the frigid water. Some enter the water as if they are tackling it, some form a line holding hands, supporting one another as they wade into the water. However they go in, they are now all together, frolicking, submerging themselves in the water, creating a conga line moving through the surf. So much fun to watch, I’m tempted to join them. Once the Bears are in the water, some stay for 15 minutes, others almost an hour. They never complain about the cold, though at temperatures much above 40 degrees, they’ll complain it’s not cold enough. I stand on the beach with a long puffer coat, hat and gloves, shivering as I watch these Bears plunge in the water in just a bathing suit. I observe this community of swimmers through my lens and with my heart. I see firsthand the bond they share, the respect and care they have for one another. The joy they extract from the frigid waters of the Atlantic Ocean is contagious. As much as I go to photograph the Bears, I go to be elevated by their smiles, warm hellos or waves, silly outfits and chants, and fellowship, which always bring me such joy. Thanks to all Bears who’ve let me share their beach for this project.” Carol Dronsfield has shared the inspirational community of the Coney Island Polar Bears with The Pictorial List last year. There were so many Bears that had rewarding experiences, we felt we needed to share a few more heartwarming positive stories from more members of the CIPB family. © Carol Dronsfield MEET ELLEN BEAR: Ellen has made her career in Corporate Facilities and Real Estate Management, spending her day taking care of everyone's needs. She puts out fires, fixes things that are broken, repairs things before anyone notices they are broken, ensuring everyone has what they need for their work life. Being such an ardent caretaker, Ellen finds her swims with the Bears to recharge and vitalize her personal being, taking time to care for herself. Ellen shared her story with us. “I’m an open water marathon swimmer, a long time member of Coney Island Brighton Beach Open Water Swimmers (CIBBOWS) and a long time member of Chelsea Piers Masters Swim Team. The Pandemic closed the pool and my office. I was too afraid to ride the subway to go to the beach in fear of getting Covid. I wondered if I’d ever be able to swim again. I also took on the leader role at my company for the Covid team and had to research health advisories across the states for our offices which put more fear in me. For months and months I watched, read and listened to the news. Food became my go to and a whirlwind of negativity got in my head. That coupled with spending hours at my desk instead of being in the office walking around…I stopped putting my health first. But 2023 is the year for me to focus on my physical and mental health again. I’ve got the best support systems every which way I turn. On a few occasions I mustered up the courage to get on the train and head to the beach. I felt out of the loop from being gone so long: a missed day feels like a month…and I saw the Coney Island Polar Bear Club members in the summer, at Brighton Beach and loved the support they gave each other and they were a unified group. The compassion they displayed for each other was so comforting after all the hardships that Covid brought to so many. The bond was lovely. I’ve known many of the Polar Bears personally for many years. And thought they were nuts. Could not fathom how or why they did it. But after seeing them during Covid I decided that was a group I wanted to be a part of. I knew there was a spiritual nature to being a bear. I needed that and wanted to be a part of that support. I also wanted to extend my open water season. Since I disliked cold water, my open water season was limited to events mostly in July/August, and I was very hesitant to spend money for a June or September event that might be too cold for me. One summer day I told my friend Janete Scobie that I was thinking about becoming a bear and she offered to be my Sponsor, I hesitantly said yes!” Ellen enjoys the Polar Bear Club and her fellow members and bears, finding them to be like minded, coming together supporting each other's individual journeys and mental health. “Each Sunday we (I can say that now) support each other getting into and staying in the water, feeling the same thing, the magic of the healing ocean, doing what many of us thought was impossible and maybe even a little crazy. Together. Getting it. And having as much fun as possible while we are there. It’s an experience of smiling that lasts the entire day and beyond. It does linger.” Ellen is not only a Polar Bear, but is a sponsor of two Polar Bear Cubs, helping to support them in their swims and guide them to becoming a full fledged Polar Bear. Ellen finds much reward giving back to her community of Bears. “I am proud to now be the sponsor of 2 Cubs! Ellen Sexton just became a full fledged Bear, completing 12 dips and being voted in and earning her patch on 2/12. Laurel Christie’s 12th dip will be 12/19 - earning her patch the 26th! Seeing them go through this experience has been wonderful. So not only have I joined the Bear Family, I’m part of another branch on the family tree: Jozef Kopelman sponsored Janete, who sponsored me, who sponsored Ellen and Laurel.” Ellen’s personal goals for this year are to go out farther than everyone else, to take photographs from the outside of the group, keeping Ellen deeper in the water. Participating in the ‘3 on 3’ full dunks for as long into the season as possible is another goal she hopes to achieve, while her most important goal is working on getting her health back in order. Ellen’s favorite swims are high tide, big wave days, she shares why. “Coney doesn’t typically get big waves but when it does it’s so much fun to jump them! They seem to be bigger in the winter than the summer. There is no escaping being fully submerged in the waves with an awesome group of people experiencing it together. I’ve realized what I thought would be intolerable really isn’t! Another thing that I’ve always wanted to experience was a snow swim. It doesn’t get much more magical than that! I’ve been fortunate to participate in one last year and I look forward to many more to come. All of the swims are meaningful but two that stand out the most: the day I became a Bear and my family was there for the first and only time! And the other was a dip on a foggy Friday night with a few fellow Bears to celebrate James Hart and Lane Spigner’s recent marriage. I am so blessed to have been welcomed into this community. Just for being me.” What keeps Ellen coming back is the unique phenomenon that happens every time her bear family comes together. She remembers her sponsor, when she first started her swims. “I could not understand why she would spend about two hours commuting each way on the subway for a 20 minute or so dip. In the cold. And now I love it and look forward to it and the commute is also a part of the ritual and has become an added bonus.” Ellen has fundraised for the community and volunteered at the New Year’s Day Plunge, helping others enjoy this experience. Ellen Wienberg Bear and Ellen Sexton Bear. MEET ELLEN BEAR: We have the pleasure of sharing Ellen Weinberg’s sponsored bear, Ellen Sexton. Time and time again, the familiar link that ties the Coney Island Polar Bears together, is their true connection and devotion to their Polar Bear family. That means bringing new cubs into their den. Ellen shares her special connection and how she became a Coney Island Polar Bear. “Across the bay from Coney Island was my birthplace, Belle Harbor Queens. My mother had a rule that whenever I was in the ocean, I always needed to be able to stand. I could not go ‘over my head’. That habit stuck with me. I became a pool lap swimmer. About 20 years ago, a friend insisted that I come to Coney Island for the day. I felt like a fish out of water. Where were the waves? A few years later another friend invited me to Brighton 4th Street in Brighton Beach for the day. He told me we were going to swim past the jetties. I had the jitters but followed his lead. I had a great experience. I never looked back. After that day, I would go out to Brighton Beach from time to time. I loved the diversity and free environment. When the pandemic hit, Brighton Beach became a lifeline. I had a job in the social work area that had just ended and the entertainment world that I am also involved in came to a halt. I needed the ocean’s healing, peaceful and restorative energy. As August approached, a few beachgoers would comment about how the ocean water was getting too warm. They couldn’t wait for the temperature to drop. I thought they were crazy! I heard the Polar Bears passionately talk about their “dips” in their beloved ocean. I managed the temperature drop in the ocean until October 2020. With everyone’s encouragement, the following year I made it to November 2021. In 2022, encouraged by the Polar Bear community, I decided to approach going from a cub to a bear one dip at a time. I couldn’t embrace the whole idea of 12 dips, it seemed unattainable.” Ellen Weinberg became Ellen Sexton’s Polar Bear Sponsor. The mentorship and role models of the other bears inspire the new cubs. Laurel Christy, Ellen Weinberg’s other cub, was an inspiration for Ellen. “The ‘dip’ is part of a great process. From preparing my knapsack for the trip until I walked back into my apartment from Coney Island, the ‘dip’. is the peak experience. For me, the process is transformative. On Sunday mornings, we communicate about which Q subway we are taking. Which subway car we’re meeting in. Once on the subway, we catch up with the events of the week and talk about any new tips we’ve thought of for getting dressed after the ‘dip’. Then when we are in the New York Aquarium's Education Hall, we visit with others. The energy and unity build. At 1pm when we start to walk to the ocean, conditions - wind and temperature vary each Sunday but, we just know that we are getting into the ocean. It is almost like we coalesce as we enter the water. Then, we have fun and dunk and just be with the ocean. It’s a beautiful experience. I carry my Polar Bear patch that I received from President Dennis Thomas on February 12th, 2023 signifying my passage from cub to bear in my purse. I am so happy to be a member of Coney Island Polar Bear Club.” The Coney Island Polar bears create connections and bonds that span lifetimes. © Carol Dronsfield MEET ELLIOT BEAR: Elliot Reed was born in Odesa, a city on the Black Sea in the Ukraine. Elliot spent his childhood growing up in New York City, but finds himself now residing in Massachusetts. Elliot considers himself a “Straight Edge Vegan Musician” creating new work committed to a project called ‘SUPERCOMPOSURE’. Elliot is known for his Boom Box that he brings to the swims, sharing his inspiration with his Bear family. Elliot shares his Polar Bear experience, “I have been a member of the Coney Island Polar Bear Club for nearly fifteen years. Every January my resolution is the same and carries me through the year: to stay fit physically, mentally and spiritually. The Coney Island Polar Bear Club community is dear to my heart. I have made a lot of kind friends, and also brought friends and family to the Coney Island Polar Bear Club for a plunge. The incredibly resilient Polar Bear Club people can be counted on to be there every winter season, no matter what is going on in the world. The amazing organizational work done by the club President Dennis Thomas and Vice President Suzanne Tomatore, along with the elected club officials cannot be underestimated. Aside from raising hundreds of thousands of dollars for a local nonprofit during the January 1st, New Year's Day Plunge, the club submerges into the Atlantic Ocean every Sunday from November to April like clockwork. We all meet on the Boardwalk, behind the Legendary Cyclone Roller Coaster for that one of a kind, ‘only in New York’ experience.” © Carol Dronsfield MEET DOUG BEAR: Doug grew up with his toes in the sand, sea breezes, sun kissed skin, bobbing in the salt water and riding the waves in Long Island, New York. The sand and the surf are a part of him, and Doug still finds the same excitement when he puts his toes in the sand. Doug shares his connections and goals as a bear. “Hello! My name is Doug! And I’ve been told by many that I am LOUD! I love life, and never take myself too seriously. I’ve been a Coney Island Polar Bear for 3 years now. I swam many new years jumps before then, but in the late fall of 2019, I decided it was time that I make the plunge and make my case to become a full member. I am a union Ironworker, building the greatest city in the world (politics aside), I am very fortunate that I love my trade. I grew up on Long Island, and as far back as I can remember, we spent long days on the beach all summer long. The sand and surf are in my blood and if I could spend the rest of my days on the sandy shores, I would. I moved to the city right after high school and fell in pretty hard with the punks on the LES, spending many a night at CBGB’s and Tompkins sq park. These days, I’m lucky to get a couple of shows in a year! But that’s life. I have a ten year old autistic son, and most of my weekends are spent with him. He was swimming with us for a bit, but decided it wasn’t his time yet. Summers we spend camping and generally going on adventures. I love the great outdoors and spend as much time away from society as possible. I find great peace in the mountains and beaches. It would feel incomplete for me not to mention that many years ago I entered into recovery, and now spend a great deal of my time with other sober fellows and helping others on their journeys. I find this extremely rewarding and hope to be able to be there for those I love and admire for a very long time. What brought me to the bears? To be completely honest, seeing the members wear the CIBP jackets and thinking to myself, I WILL HAVE ONE OF THOSE! That was one of the initial reasons I was drawn to the bears. Of course it has morphed into so many other reasons over the years. Being a member of the world famous Coney Island Polar Bears has been a lifelong dream come true. I love my bears and think about them all week. I love the Sunday ritual of packing the bag, getting in the car, hitting the highway, Sunday acoustic blues on the radio. I love it when I drive along the belt parkway and I see the ocean for the first time. I get filled with excitement and anticipation, and on the rare occasion, a swift, cold kick of absolute dread. On those terrifically cold and blustery days, where any sane person wouldn’t be caught dead outside, let alone be insane enough to so swimming, there we go, merrily singing, polar bear chanting and yelling, willingly step (though some might not believe it) towards the icy and medicinal waters of the Atlantic. At this point it has become so ingrained in my psyche I don’t believe I’ll ever stop.” © Carol Dronsfield MEET NICOLE BEAR: Nicole Beckford travels to Coney Island on Sundays to swim all the way from Orange county New York. Being a married mother of four amazing boys, this can be challenging. Nicole has made the commitment to stay the course to become a Bear. “Hi, I’m Nicole! I’m not a bear yet, I’m what’s known as a ‘Cub’ for now. This group is very special to me because of how I was introduced. I have a friend named Robert who is also my sponsor towards full grown bear status. Robert has a very long history with the bears and when he was being made an official part of the group, he invited friends to witness the event. I just had to attend. This is a guy who gives so much and I think he’s blissfully unaware of the wisdom he imparts to all he encounters. Well, not only did I witness but I jumped into the icy water with him to celebrate this milestone and give him my full support. I fell in love immediately with the entire experience. There is such a diverse and welcoming group of people surrounding you and pouring love and warmth into you. What the week at work and at homes takes from you, on Sundays, the bears make you whole again. My goal this year is to become a WORLD FAMOUS CONEY ISLAND POLAR BEAR!!! Swim number 10 was very special to me because my goal actually seemed attainable. Two swims to go and I only hope that I have as much to give them as they have given me.” The Pictorial List has heard that since our last conversation with Nicole, she has finished her required swims as a Polar Bear Cub and has officially become a Coney Island Polar Bear. We congratulate Nicole on her determination and success in achieving her goals. © Carol Dronsfield © Carol Dronsfield MEET JOSHUA BEAR: Joshua Gold is originally from Brooklyn, New York, now currently living in Staten Island. Joshua loves nothing more than hanging out with his extended family, the Coney Island Polar Bears. He has been a member of the Coney Island Polar Bear Club for three years and plans on being part of his Polar Bear family for years to come. Joshua’s first swim with the Polar Bears was the infamous New Year’s Day plunge, in the year 2020. The unfortunate events of the pandemic made becoming an official Polar Bear a bit challenging. Joshua continued with his required swims when he could, achieving his goal and becoming an official Bear on November 14, 2021. This was an achievement to be proud of even without the threat of a global pandemic. When Joshua is not a Polar Bear, he is an essential part of the crew and operators at the Deno's Wonder Wheel Park, contributing to the fun that fuels the fever Coney is known for. Little did Joshua know what the Coney Polar Bears community would bring to them, and how they would drive them in a positive way into the future. “Hey I’m Joshua Gold and I've been in the Polar Bear Club for three fantastic years now. My first swim was New Year’s Day 2020. Unfortunately with the pandemic I was unable to finish the required swims. I was then allowed to have my swims rolled over to the next season. So on November 14, 2021 I was voted in as a Polar Bear! I started working in Coney Island 8 years ago as a game operator blowing up balloons and running a basketball ball game. The year after that I started working in Deno's Wonder Wheel Amusement Park, and with that I got to know more of the Coney Island regulars. I always thought the polar bears were crazy and I never thought I’d get into the cold ocean with them but it was the best decision I've ever made. To me the Polar Bear Club is my family and I will forever love them all! The energy from the group is so powerful and the joy it brings me every Sunday keeps me coming back. Every time I go jump in the ocean with the Coney Island Polar Bears, any stress or worries that I might have, stay on land. No matter if I’m in for 10 minutes or even 30 minutes I’m having the time of my life. What makes it even better is if the weather is calling for snow. Snow swims are the best! But even around summertime when the water is warmer it’s great to see the bears and swim with them before work and then later put them on the Phoenix Roller Coasters.” © Carol Dronsfield © Carol Dronsfield © Carol Dronsfield © Carol Dronsfield © Carol Dronsfield © Carol Dronsfield © Carol Dronsfield © Carol Dronsfield Carol is currently using two cameras, she explains which she has chosen and for what reasons. “When I photograph the Bears primarily a Leica Q2 with a 28mm lens. A perfect camera and lens for portraits and street scenes. The wide-angle lens forces me to get close to my subject, making a more intimate portrait. I also started using a Nikon Z7ii with a 24-70mm lens. I generally prefer the Leica, it’s small, lightweight and easy to maneuver. With the Bears you have to be quick and ready for anything.” Carol finds inspiration in a quote from Gertrude Caroline Ederle, (born October 23, 1905, New York, New York, U.S. — died November 30, 2003, Wyckoff, New Jersey), American swimmer who was the first woman to swim the English Channel in 1926 and is one of the best-known American sports personalities of the 1920s. Quote: “To me, the sea is like a person – like a child that I’ve known a long time. It sounds crazy, I know, but when I swim in the sea, I talk to it. I never feel alone when I’m out there.” – Gertrude Ederle The Pictorial List is enthused with Carol's connection to the Coney Island Polar Bears and are pleased to present some more of the Bear’s personal stories to coincide with Carol’s unique way of visual storytelling seeing her subjects come to life through the lens of her camera. Thank you, Carol, for sharing your inspiration with our photography community. Carol’s work has been exhibited at the International Center Of Photography, the Annual Women Street Photographers exhibit in NYC 2020, Art On The Ave NYC 2020, the Women Street Photographers Inaugural Virtual Exhibition 2021, the 2nd Women Street Photographers Virtual Exhibition 2021, Women Street Photographers Exhibition in Villahermosa, Tabasco, Mexico at the National Museum of Anthropology, More Art of Coney Island BWAC Gallery Red Hook, Brooklyn and currently is in the Women Street Photographers Exhibition in NYC 2023. In December of 2021, Carol’s interview, On the Boardwalk , and in April 2022, part one of the Coney Island Polar Bears series, Making a Splash was featured on The Pictorial List website. view Carol's portfolio Read Part One of this story - "Making a Splash: with the Coney Island Polar Bears" >>> Read an interview with Carol >>> 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 >>> 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? 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FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. 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Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. STEPHEN LASZLO Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. LOCATION San Francisco UNITED STATES CAMERA/S Leica M10 Monochrom and Leica Q2 Monochrom Reporter WEBSITE http://stephenlaszlo.com/ @STEPHEN_LASZLO_PHOTOGRAPHY FEATURES // On The Streets of San Francisco

Wherever you are, I shoot you! At an exhibition of my work, a lady asked me how I could photograph people so easily. I told her that I could never wait for half a day, hidden in a bush, for a moorhen to come in front of my lens. I am a very sociable person and like to talk to everyone, before or after I press the shutter button on my camera. This is rather difficult with moorhens or other friendly animals. Street photography is for me an artistic discipline that I practice simply, without asking myself 1000 questions. I always look for contact, close proximity to people. I always like to face them to photograph them. Looking is learning. NOISY KID Wherever you are, I shoot you! At an exhibition of my work, a lady asked me how I could photograph people so easily. I told her that I could never wait for half a day, hidden in a bush, for a moorhen to come in front of my lens. I am a very sociable person and like to talk to everyone, before or after I press the shutter button on my camera. This is rather difficult with moorhens or other friendly animals. Street photography is for me an artistic discipline that I practice simply, without asking myself 1000 questions. I always look for contact, close proximity to people. I always like to face them to photograph them. Looking is learning. LOCATION Brussels BELGIUM CAMERA/S Nikon D750 WEBSITE https://www.noisykid.pictures/ @NOISY.KID @NOISYKIDPICTURES FEATURES // Making Noise

ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. October 26, 2025 INTERVIEW PHOTOGRAPHY Nicola Cappellari INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In Nicola Cappellari’s work, the photograph is never an endpoint. It does not resolve into certainty or narrative but remains suspended, waiting. His project Analogical Limbo inhabits this threshold, where the photographic act becomes less about representation than about suggestion, less about fixing the world in a frame than about leaving it open for interpretation. A tree pressed against a wall, a cluster of flowers trembling at the edge of a field, laundry drifting in front of barred windows, the faint constellation of leaves floating on water — Nicola’s photographs draw our attention to what is usually overlooked. They are visual footnotes that ask to be read not for what they tell us but for what they allow us to imagine. In this sense, his photographs are closer to invitations than declarations, their meaning completed only when someone else enters them. Trained in philosophy at the University of Padua and seasoned by more than twenty-five years in marketing and communication, Nicola carries into his practice a double awareness: of how images persuade and of how they fail. In stepping away from the compromises of commercial work, he embraced film photography as a way of reclaiming time. A time to wait, to imagine, to be unsettled. For Nicola, the delay inherent to the analogue process is not a technical inconvenience but a philosophical necessity. It creates a space where anticipation sharpens perception, where the act of seeing is infused with uncertainty, and where the photograph becomes an event of waiting. Analogical Limbo does not construct a linear narrative. Instead, it unfolds as a series of fragments, each capable of standing on its own. A photograph of a road bending out of sight does not explain itself; it simply gestures toward distance and disappearance. A pair of swans gliding through a narrow canal is less a document of place than a fleeting allegory of passage. These images resist being tied down to singular interpretations, instead hovering in the indeterminate space between document and metaphor. Nicola himself admits uncertainty: he knows what the project is not more than what it is. It is not a story of place, nor an exercise in technical virtuosity, nor a neatly packaged series. Rather, it is a field of possibility, where every image is provisional, every meaning contingent, every fragment alive with the potential to become a story through the gaze of another. At the heart of Nicola’s practice lies a conviction that photography is a triadic relation: subject, photographer, and, crucially, the observer. It is only in this final encounter that the image becomes truly alive, transformed from a surface into a story. In this sense, he challenges dominant notions of photographic authorship. He refuses the position of the omniscient narrator, instead offering images that are deliberately incomplete, waiting for the observer to enter and co-create meaning. This stance situates his work within what could be called the poetics of the document. It echoes a lineage of photographic practices concerned with ambiguity, incompleteness, and the fragment — not as weaknesses but as conditions of thought. Nicola describes himself as searching for “traces of life where apparently there aren’t any.” This is perhaps the most accurate articulation of Analogical Limbo. His photographs do not seek grand narratives. Instead, they attend to the residual and the almost invisible. These traces, ephemeral yet persistent, become metaphors for resilience against indifference. What matters is not what the photograph shows but what it suggests, what it allows the observer to imagine beyond the frame. It is from this position of openness that we begin our conversation with Nicola Cappellari. In dialogue, he reflects on the philosophical roots of his practice, the necessity of waiting, and the fragile life of images once they are released to the gaze of others. “Film is in fact an analogical limbo where I can slow down and imagine. It embraces my good intentions and even my less good intentions. In the meantime, my ideas take shape, slowly, without rushing. I don’t really know what this work is about, but I do know what it is not. It is not a story made of images because every image can be a story on its own.” IN CONVERSATION WITH NICOLA CAPPELLARI TPL: Your project Analogical Limbo refuses fixed narratives and instead embraces fragments and incompleteness. You’ve written, “I don’t really know what this work is about, but I do know what it is not.” How does this philosophy of “not knowing” guide the way you approach the camera? Do you find freedom in this refusal to define, or does it sometimes create tension in how others read your work? NICOLA: I love that incompleteness you talk about. It’s an opportunity for dialogue between photographer and observer. That’s the way that an image can turn into a very personal story and finally become a real “photo”. To me photography is a sort of co-created flux: there is the photographer, with his sensibility, eye and heart and there are the sensible eyes and heart of the observer. TPL: You’ve described film as a limbo where you can “slow down and imagine,” and admitted you almost shake before seeing the developed images. What does this waiting mean to you in the analogue process? Do you think this delay of revelation brings you closer to the meaning of photography, or is it more about creating space for imagination? NICOLA: What would Newton’s gravity force discovery be without the waiting time? No waiting, no apple, no gravity force. It’s not about a derby between digital and analog technology (of course not), I just don’t fit in with the speed of the digital process, it is too much, too fast, it confuses me, I need time to think, dream, love, imagine. I think the “limbo” we talk about is a very current topic, I think it is the opportunity to reconquer the dimension of waiting, observing, hearing…and finally better managing the velocity of daily life. TPL: In your writing, you say you look for “breadcrumbs that resist against the wind and cold but melt like jellyfish on a hot summer rock when it comes to indifference.” Do you see yourself as a documentarian of these fragile traces, or as a poet working through metaphor? How do you know when such a trace is worth photographing — do you decide, or does the image decide for you? NICOLA: You’ve really caught the core of my attempt. The challenge is to tell life where apparently there isn’t any. Silent signs, everyday objects become stages where life has passed, passes and will pass. Even if not represented with tangible evidence, you can feel it, you can imagine it and build your very own story. This, again, is my romantic vision of a photography made both by the artist and the observer. And then, well yes, I think the object itself has a sort of personal will, I first feel touched from it and then I react with my sensibility. TPL: You speak of photography as a threefold relation: subject, photographer, and, above all, the observer. How do you imagine the observer when you are working — are they always present in your mind, or do they only arrive later, after the photograph is finished? NICOLA: No, when I’m photographing, I don’t think about the observer, and not even about myself. I just float in my bubble, letting myself be enraptured by the scene and follow in love for the moment. TPL: Your background in philosophy and communication means you think deeply about how images persuade and how they fail. How do these two worlds — critical thinking and visual practice — intersect in your photography? Do you see photography as closer to language, or as something that resists words altogether? NICOLA: I’m in love with a kind of photography that’s symbolic and able to give clues without telling too much. In this regard I suppose photography to me is about intuition more than about words. It’s a very personal inner speech which allows me to have a different connection with the world around me. Contemporary communication tends to atrophy in the same way our minds. Everything has been already pre-cut, mixed, poured into specific jars and served to be sucked in a blink of an eye. The risk is to become more uncritical. So welcome to every form of art able to provoke, shake and stimulate the creativity and the critical thinking. TPL: In a world saturated with instant digital images, you choose to remain with film. Do you see this as an act of resistance, or simply as a personal way of inhabiting time? How do you think your photographs might change if you were to work digitally, even just experimentally? NICOLA: Probably I’ve partially already answered, but it’s exactly as you say: a personal way of inhabiting time. I’m fascinated by digital photography potential, but I just haven’t found my way to use it yet. Digital is for me a sort of drug, I take thousands of photographs, I can’t stop, and I can’t focus on my idea. I change my mind quickly and so I change the photos just because I can do it. In a way, I need to be forced not to be able to see, I need time to think and rethink and rethink again those clicks I have in in my mind. When I finally come out from my dark room with that print in my hands is to me a sort of certification and conclusion of my photographic and mental trip. The fear of being superficial pushes me to look for traces of life where apparently, there aren’t any. TPL: Reflecting on your exhibitions and books, from Analogical Limbo to Marea, what has been most important to you: making the images, sharing them, or witnessing how they are transformed by the gaze of others? Do you ever feel that once an image is released, it no longer belongs to you? NICOLA: I love this question, really. The truth is that I can’t separate the phrases you talk about. They complete each other. The idea of evoking an emotion is incredible. To image someone making up his own story thanks to that little piece of me, well, really gives me goose bumps all the time. So, no, I don’t feel the image is no longer mine when it’s released, I just let it go with the hope that it will have great chances to live many adventures. TPL: You have described yourself as a “hopeless romantic” who believes in waiting. After years of pursuing traces, fragments, and the limbo of film, what still feels urgent to you when you lift the camera to your eye? What do you hope your future photographs will offer, both to yourself and to those who encounter them? NICOLA: Hmm...this is the fourth time I have tried to answer this question. To be honest I wish to myself to keep alive the flame of passion a curiosity. If so, I’m sure I will be able to complete the projects I’m working on, and I also think there will be the chance to build new beautiful dialogues with all the ones I will meet on the way. TPL: Let’s talk about the practical side. What’s in your photography bag when you head out? Do you keep it minimal, or do you like having options at hand? Is there one tool — camera, lens, or even a non-photographic item — that feels essential to how you work? NICOLA: Very minimal. In my backpack I have films, a new battery for my exposure meter and (sometimes) a second camera just in case… My number one camera today is a Leica M6 with a 35mm Summicron but I sometimes dedicate other cameras to certain specific projects. For example, I’ve been working on a project (friendly named Home Life Diary) where I use a little point and shoot camera bought for $35 online. A pencil and a little block are always in the backpack pocket because I love to write down my thoughts or sensations connected to…those clicks I immediately believe in. TPL: How do you prepare yourself for photographing? Do you plan your walks and encounters, or do you prefer to let chance guide you entirely? Has chance ever led you to an image that became pivotal in your practice? NICOLA: I’m the person who stops the car on the highway and walks backwards 50 meters because he’s just seen an old shoe on the roadside to photograph. Sometimes I wish I were able to plan something in advance, but I’m not. I just go around with my camera as it was a fashion accessory, even to a job appointment. And, yes, at times fate works with me too, especially when I use my beloved Rolly 35t which has the plus not to be perfect as the Leica one. It's those little imperfections that lets me take clicks without thinking too much. I love how sometimes I 100% work with intuition and just “click” with no reasoning at all. Sometimes I develop the film and discover something I wouldn’t have done with the Leica approach. There are actually many of these photos in Analogical Limbo and I’m really proud of this collaboration with fate… TPL: Having spent decades in communication, how do you think about publishing your work today? Do you prefer physical books, exhibitions, or digital platforms? Do you feel the medium of presentation changes the way a photograph lives? NICOLA: Totally and definitely “book”. A book to touch, to smell, to see in my library. To me there is no photography without keeping something physical in my hands. Exhibitions, presentations, events are great moments because you can really feel other’s emotions, you shake hands (and I really love shaking hands), you meet people, you talk and hopefully drink good wine. And then we have the digital world. Well, you know what? Having an analogical soul doesn’t keep me from appreciating this world. I do appreciate it and I’m discovering how “in the name of passion” it’s possible to jump from virtual friendship to real friendship. I love this and it helps me to be optimistic in a new humanistic era. TPL: When you set the camera down, where do we find you? What else brings you joy or sustains your creativity outside of photography? NICOLA: I live and work on my beloved hill with a big dark dog, a cat, three turtles, a wife and two daughters (not in order of importance). This place is my never-ending source of inspiration and passion. Gather firewood, pruning olive trees, mowing the lawn, taking care of my rare African plants…This place is a sort of daily emotive gymnastic. Then of course there are friends, music, trips… But you know what? Even chopping wood, I always have a camera with me…there could be something in every moment lighting up my imagination and I feel safe bringing a camera in my pocket everywhere. Through Analogical Limbo, Nicola Cappellari reminds us that photography is not about certainty but about possibility. His images are fragments that resist closure, carrying with them traces of life too delicate to name yet impossible to ignore. What he offers is not an answer, but an opening. A chance for each observer to bring their own imagination to the frame. Nicola’s practice is sustained by a devotion to waiting, by a deliberate trust in slowness and imperfection to shape the photograph into something alive. He shows us that meaning is never fixed but continually renewed each time a photograph is seen. In this way, his work is not only an archive of images but a living conversation — one that extends beyond him, beyond us, and into the fragile, unseen currents of the everyday. VIEW NICOLA'S PORTFOLIO website >>> instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

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 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. November 9, 2025 INTERVIEW PHOTOGRAPHY Laetitia Heisler INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Double exposure has always carried a tension between accident and intention, between the technical error of overlapping frames and the creative act of constructing layered realities. In the analogue practice of French German visual artist Laetitia Heisler, this tension becomes the very site of inquiry. Working with RA-4 color printing, she reclaims the material instability of the medium as both aesthetic strategy and conceptual foundation. Her photographs exist not as fixed records but as mutable encounters, where body, landscape, and memory interlace to form images that hover between representation and apparition. What distinguishes Laetitia’s work is the refusal of resolution. By reloading rolls of film, exposing scenes twice over, and submitting the negative to a process of reinvention in the darkroom, she generates visual spaces where presence and absence are no longer opposed but entangled. What emerges is not simply a double but a third presence, that hovers between representation and abstraction. In these compositions, photography shifts from the evidentiary to the performative, aligning itself more closely with ritual and self-portraiture. Her work is profoundly autobiographical yet resists confession. It is shaped by Laetitia’s interest in the invisible: trauma, desire, menstrual cycles, psychic thresholds, and the body as a living archive. Here, the analogue darkroom functions not only as a site of technical manipulation but as a psychic chamber where shame and silence are reconfigured into visibility. The RA-4 color print becomes less a reproduction than a residue of performance — each manual intervention, distortion, and gesture embedded in the surface of the image. To engage with Laetitia’s photographs is to enter a state of oscillation: between clarity and blur, intimacy and estrangement, recognition and disorientation. They recall the Pictorialism tradition in their embrace of softness and atmosphere, yet they remain insistently contemporary in their politics of feminist self-imaging and their emphasis on process over product. At once fragile and resistant, these works ask us to reconsider what it means to look, to remember, and to inhabit an image. We begin our conversation with Laetitia Heisler — asking what drives her devotion to analogue experimentation, how she approaches the risks and revelations of process, and what it means to transform the personal into shared visual experience. “My practice and my inner life constantly shape one another, but what matters to me just as much is how this devotion reveals another way of relating to time. The darkroom demands slowness, patience, and attentiveness - qualities that are increasingly rare in a fast, efficiency-driven world. Many of my works are self-portraits, so enlarging an image often feels like allowing hidden layers to come into visibility. But beyond the personal, the process itself speaks of a different rhythm of existence, one that values pause, silence, and depth. My daily rhythms naturally mirror this: I gravitate toward the darkroom when I feel the need for solitude and when I want to step out of linear productivity, into a space where time stretches, bends, and transforms with the image.” IN CONVERSATION WITH LAETITIA HEISLER TPL: Your practice is deeply founded in experimentation. What does risk mean to you in the analogue darkroom? Can you recall a moment when failure led to an unexpected breakthrough in your work? LAETITIA: Experimentation is at the core of my practice. With it comes failure, unpredictability, and sometimes even loss. In analogue photography, risk is not only about trying something new without following established rules, but also about accepting that what was once captured on the negative can completely disappear in the darkroom. It accepts losing the control. In some of my experiments, I use unconventional liquids during development, and sometimes this means ruining an entire roll of film. But this loss is part of the point - it challenges material attachment and destabilizes the idea of photography as something fixed or permanent. Failure, repetition, and even destruction become part of the process. For one print, I might use dozens of sheets of paper - not to reach perfection, but to test limits, to see what happens when control slips away. In this sense, the darkroom is less a place of mastery than of negotiation, where the unexpected is allowed to intervene. When I teach analogue double-exposure workshops, I encourage participants to value the one image that works, but equally to pay attention to the many that fail. Each “mistake” opens another possibility. What matters is not the preservation of an image as an object, but the experience of process, of time, and of transformation. TPL: You speak of the darkroom as both sanctuary and laboratory. How do you balance intuition with technical precision when working with film and RA-4 prints? Do you find that one — intuition or precision — dominates at particular stages of your process? LAETITIA: My relationship with the darkroom began with learning the fundamentals. For black-and-white, I trained with Kira Enss at Butz Lab in Hamburg, and I was introduced to RA-4 printing at Stills in Edinburgh with Caroline Douglas. Once I had the technical foundations, I began to deliberately break them. I experiment with the process intuitively, relying on my five senses, often introducing gestures or movements that destabilize precision. For me, precision is never absent. It forms the structure, the framework. One cannot break rules without knowing them. But intuition grows within that framework when I get to know the image after having made a few prints of it. Then, the intuition grows increasingly, and I can completely let go by playing with the enlarger and filters, shifting the image or even bringing physical movement into the process. In this sense, the darkroom becomes both sanctuary and laboratory: a space where discipline and unpredictability constantly negotiate with one another. TPL: Many artists working today are drawn to digital possibilities, yet you remain committed to analogue processes. What does analogue photography offer you that digital cannot? Do you see this commitment as an act of resistance in itself? LAETITIA: I am not against digital tools, I may use them for video or other projects, but I remain deeply committed to analogue processes, mostly because they bring me joy. For me, making art should also carry a sense of play. Screens and social media often make me feel stressed, so analogue photography offers a counterbalance: a material, embodied practice. A real hug cannot be replaced by a lovely message on WhatsApp; in the same way, the physical experience of analogue work cannot be replaced by digital photography. To me, they are both completely different practices. Each having their pros and cons. In the darkroom, all the senses are engaged. My eyes are absorbed by the light produced by the enlarger, my nose is filled with the smell of chemistry, my hands navigate in complete darkness, my ears catch every small sound, even taste is connected to the air I breathe. This sensorial immersion does something to the mind - it grounds. It is comparable to being in a forest, where you are surrounded by air, smells, colors, sounds. I feel that analogue photography brings an anchoring quality, something material and direct, which is increasingly missing in our screen-driven lives. Today it is easy to feel disconnected from our immediate environment; I think that analogue photography is a way of restoring balance between the virtual and the material and that is why so many young people are going back to it. The Eye © Laetitia Heisler The Door 1 © Laetitia Heisler Immersion v2 © Laetitia Heisler The Sleepy Menstruant © Laetitia Heisler Life & Death Bond © Laetitia Heisler Laetitia v3 © Laetitia Heisler Eugénie © Laetitia Heisler So Vulnerable So Alive © Laetitia Heisler Humanoid Vegetalis © Laetitia Heisler At the Wrong Place © Laetitia Heisler TPL: The negative in your work is not an endpoint but a starting point. How do you understand the negative as a living material? Do you ever return to the same negative multiple times, and if so, how does each iteration evolve? LAETITIA: In my practice, the negative is not a sacred object that needs to be enlarged according to conventional codes. For me, the negative is a medium, a point of departure to create images beyond the negative. Each time I return to the same negative - because I often do - something new can emerge. Printing becomes less about reproducing what was captured on film and more about opening possibilities. For me, this reflects the way reality itself operates. Reality is not a single, universal truth but a layered, shifting field - something that cannot be fully pinned down. By working the same negative again and again, with different tones, gestures, and movements, I want to make visible that multiplicity. The negative is alive because it carries within its infinite potential versions, just as reality is never one-dimensional but always in flux. This way, a single image may exist in different variations within the same edition — for example, print 1/7 might differ from print 2/7, even though they originate from the same negative. TPL: Your self-portraits are performative and serve primarily as a way to externalize your subconscious and move beyond the psychological dissociation you have experienced. How do you navigate the boundary between self-exposure and self-protection? Are there aspects of your life or body you intentionally keep outside of your work? LAETITIA: If there were things I intentionally kept outside my work, I certainly wouldn’t announce them. What matters to me in self-portraiture is not self-exposure for its own sake, but rather the act of questioning the viewer. For instance, in my series Ce que je ne veux pas dire, composed entirely of self-portraits, I use mirror passe-partouts to underline that what the viewer sees of me is ultimately a reflection of themselves and at the same time, the mirror serves as a form of protection, a way to shield parts of me while redirecting the gaze back onto the spectator. I resonate deeply with Francesca Woodman’s statement, “You cannot see me from where I see myself” (Francesca Woodman, 1958–1981). Of course, self-portraiture also serves me personally, but what it generates within me remains private. By showing these works, I am less concerned with revealing myself than with evoking what the human psyche so often endures in silence: fragmentation, vulnerability, multiplicity. It is, in fact, a claim for authenticity, for daring to truly look at ourselves rather than remaining in sterile relations. What interests me in self-portrait is not confession but resonance: creating images that become a mirror for collective inner experiences. To me, art is about opening a space where we might ask how we are really doing, what remains hidden, and how those hidden aspects might be acknowledged. TPL: Your images engage with trauma, desire, menstrual cycles, shame, and silence — subjects often erased from visual culture. What does it mean for you to make them visible through photography? Has working with these themes changed how you relate to your own body? LAETITIA: Engaging with these themes has inevitably reshaped the way I relate to my own body and experiences. Take menstruation, for instance: like many menstruating people, I have endured both physical and psychological pain around it. But since menstrual blood has become a medium in my practice, whether through double exposures or by immersing negatives in it for 24 hours before development, my perception has shifted. I now anticipate my cycle not only as a physical event, but as an opportunity for my artistic practice. It transforms something often silenced or stigmatized into material for expression. Imagine if everybody would see menstrual blood as an opportunity! Making such subjects visible is not about provocation; it’s about dismantling taboos and expanding what we allow ourselves to see. Photography, for me, becomes a tool to re-inscribe these embodied experiences into visual culture, where they have long been erased. This process does not only alter my relationship to my own body but also asks viewers to confront aspects of their humanity often kept in the shadows: vulnerability, shame, cycles, desires. It is an invitation to acknowledge that these dimensions exist, to engage with them rather than turning away. And if some viewers feel discomfort when confronted with images addressing menstruation or trauma, then perhaps that discomfort itself should be questioned - why does it arise, and what does it reveal about the structures that shape our collective gaze? TPL: You’ve mentioned affinities with early pictorialism. How do you reconcile that tradition’s romantic atmosphere with your more contemporary, political concerns? Are there specific Pictorialism photographers whose work resonates with you today? LAETITIA: What draws me to early pictorialism is not so much its stylistic nostalgia, but its insistence on photography as an expressive, interpretive medium rather than a neutral reproduction of reality. Like the Pictorialists, I am interested in how an image can evoke emotion, atmosphere, or even ambiguity, rather than simply documenting the visible. Photographers such as Robert Demachy or René Le Bègue, with their emphasis on material interventions, remind me that the photographic image has always been open to manipulation, to being shaped as much by the hand as by the lens. Anne Brigman also resonates strongly with me: her use of the female body in dialogue with nature feels like an early feminist gesture, embedding subjectivity and lived experience directly into the image. Other figures also inspire me, not strictly pictorialism but adjacent, like Claude Cahun or Francesca Woodman. For me, these references are less about emulating a style than about situating myself within a history of artists who used photography as a space for transformation where process, emotion, and vulnerability outweigh clarity or control. TPL: Your work asks viewers to reconsider what it means to look and to inhabit an image. What do you hope stays with someone after encountering your photographs? Do you think of your photographs as conversations that continue long after they leave the darkroom? LAETITIA: What I hope lingers after someone encounters my work is not so much a fixed image, but a shift in perception, a question that stays with them. My photographs are less about offering answers than about creating space for introspection. If they provoke viewers to look inward, to reconsider how they see themselves and the world around them, then the work has fulfilled its role. I do think of photographs as conversations, but not in a didactic way. They are open-ended exchanges that unfold over time, sometimes resurfacing in unexpected moments. The darkroom may be where the image begins, but it only comes alive once it is carried into someone’s inner landscape, where it can continue to resonate, disturb, or even transform. 10 Years Still You © Laetitia Heisler The Door 5 © Laetitia Heisler Retenue Par La Chaise © Laetitia Heisler Holy Place v1 © Laetitia Heisler Desire © Laetitia Heisler Elegant Sabotage © Laetitia Heisler Forest Is My Temple © Laetitia Heisler Not A Flower © Laetitia Heisler Lost in Fantasy © Laetitia Heisler Hope © Laetitia Heisler TPL: Photography has long been tied to evidence and truth. How do you see your practice challenging these conventions, particularly as a feminist intervention? Do you feel your photographs argue for a new kind of truth — one that is fluid, embodied, and multiple? LAETITIA: My work, especially through multiple exposures, seeks to challenge the conditioning we inherit around the visible by layering, fragmenting, and reconfiguring it. I work only with tangible elements from my immediate surroundings - objects, textures, organic materials - to emphasize that what we perceive as “real” is always filtered through perspective, always multiple. In this sense, my practice resonates with Alexandra David-Néel, who explored what lies beyond appearances. She once wrote: “Truth learned from others is worthless. Only the truth we discover ourselves counts, only it is effective.” This does not mean rejecting facts or science but rather acknowledging that truth becomes transformative only when it is experienced directly. For me, the darkroom is precisely such a site: a place where the visible can be encountered in its instability, through experimentation and the senses. Even a single negative can unfold into endless variations. Working through sight, touch, smell, even sound, is what allows me to connect more deeply to the material world around me. This is also why I integrate menstrual blood into my work - whether by photographing it or incorporating it into the chemistry. It is both a way of entering into real contact with my body, through all senses, and a radical feminist gesture of reclaiming what has so often been silenced or erased from visual culture. In this way, photography becomes not about fixing one singular reality on an image, but about the process and about revealing that reality is embodied, fluid, and always uniquely experienced by each observer. TPL: As you look toward the future of your artistic practice, what types of projects are you currently considering, and how do you envision these endeavors evolving over the next 3 to 5 years? Are there specific themes or issues you feel compelled to explore more deeply, and how do you see your style or approach transforming as you continue to grow as an artist? LAETITIA: At the moment, I am pursuing several projects that continue to expand the relationship between body, psyche, and image. One ongoing research focuses on menstrual blood in photography, not only as a subject but as a material in itself. Alongside this, I am developing a large-scale installation composed of around 350 instant photographs taken over five years, exploring dissociation and the complexities of mental reaction to trauma. I am also framing my series Ce que je ne veux pas dire, a body of double exposed self-portraits printed in the darkroom and presented with mirrored passe-partouts. For me, the mirror reframes the self-portrait as a relational image: the viewer is confronted with their own reflection. It shifts the vision of the self-portrait - although I appear in the image, it cannot be reduced to knowing me. What the viewer ultimately sees is filtered through their own eyes, their own experience. In parallel to my darkroom practice, I am beginning to integrate sculptural work into my practice, extending my exploration of materiality beyond the photographic print. These new directions allow me to deepen questions of embodiment, vulnerability, and the multiplicity of realities. Over the next years, I see my practice evolving toward immersive forms, where image, object, and viewer coexist in spaces that do not simply present a work, but create an experience. My aim is to engage the spectator in a way that challenges both perception and intimacy, making it evident that the work is not complete without their presence. TPL: When you’re not behind the camera or in the darkroom, what fun adventures or creative pursuits would we find Laetitia diving into? LAETITIA: I’ve always been immersed in art in one form or another. Before photography, I was a dancer and later a musician, playing in a band for several years in my youth. Music still matters deeply to me - especially underground scenes. It keeps me connected to raw energy. When I do self-portraits, I always listen to John Lennon or Brian Jonestown Massacre. At the same time, I read, write, and draw a lot. Also, psychology fascinates me. I even enjoy staying in therapy as a way of continuing to explore the human psyche. Eastern philosophies, particularly from India, have also deeply influenced the way I live and work. I’ve been there to study meditation, ayurveda and know I am learning to speak Hindi. And of course, being on the road, walking endlessly through forests or wandering cities is something that makes me feel very alive. I also like to dive underwater, looking at fishes. Those underwater explorations, just like walking or traveling, are part of the adventures that feed my imagination. In speaking with Laetitia Heisler, it becomes clear that her practice is not only about photography, but about the ways we inhabit time, body, and image. Through analogue experimentation she transforms risk into revelation, failure into possibility, and silence into visibility. Her darkroom is less a place where memory and material converge to create images that resist finality yet invite deep reflection. What remains is Laetitia’s devotion to the unseen: to those psychic and embodied realities often hidden, stigmatized, or overlooked. By bringing menstrual cycles, trauma, and vulnerability into visual culture, she reclaims analogue photography as a feminist space of resistance and resonance. Her photographs are not answers but invitations, opening the possibility of seeing — and feeling — differently. As Laetitia continues to expand her work into sculptural and immersive forms, her practice asks us to reconsider the photograph not as an endpoint but as an ongoing conversation between artist, image, and viewer. It is in this space of exchange, fragile yet profound, that her work finds its power — what remains, and what emerges. VIEW LAETITIA'S PORTFOLIO website >>> instagram >>> read more interviews >>> 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. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.