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

REAL MOMENTS Drew A. Kelley is a photojournalist based in Southern California, whose love for photojournalism is equal to his love of art. REAL MOMENTS April 9, 2021 INTERVIEW PHOTOGRAPHY Drew A. Kelley INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Drew A. Kelley is a remarkable photojournalist, capturing the vivid and diverse moments of Southern California in black and white film with a passion for storytelling. This talented creative continually seeks out new experiences, finding inspiration through art galleries, used book stores, music, and newspaper reports. Driven by a love of art and photojournalism alike, Drew’s work is an intricate blend of both. He captures life’s moments with an eye for detail that brings both beauty and emotion to his photographs. Whether he’s working on a tight deadline or using his own time to craft another passion project, Drew’s commitment to his art shines through each beautiful capture. “My goal is to accurately document, without bias, the lives of people that lack a voice. Style wise, I am obsessed with moments and layers. I feel I’ve done something right if the viewers’ eyes are moving around the photograph and not moving to the next.” IN CONVERSATION WITH DREW A. KELLEY THE PICTORIAL LIST: Drew please tell us about yourself. How did you become interested in photography? DREW A KELLEY: I was born in Long Beach, California in the mid 1980’s but I grew up in Chino Hills, a suburb outside Los Angeles. Living in Southern California during the 1990’s, my love for photography grew concurrently with my passion for skateboarding. Anytime we went out, I brought my camera and tried to capture the perfect moment. Eventually I started documenting the culture behind skateboarding and that’s when my passion for photojournalism began. TPL: Where do you find inspiration to photograph? DAK: My quick answer is reading newspapers. Other than newspapers, I find inspiration by visiting art galleries, used book stores or searching for new music. It’s hard to explain the feeling of listening to a good song for the first time but that vibe inspires me to create something equally as great. Used books also provide me with that same level of inspiration. Flipping through pages of photographs by photojournalists before me is very grounding and encouraging at the same time. TPL: You are a photojournalist. What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? DAK: When I document news events, the subjects are typically indifferent and my job is clear. Outside of news events, rapport is of the utmost importance. Repeatedly visiting people or places is essential to put your subjects at ease. My end goal is to earn the ability to be a fly on the wall. TPL: Do you have a favourite place to photograph? DAK: My favorite place to photograph is any place that hasn’t been overly documented. I am drawn to places and sub cultures that aren’t easily accessible. If I am not giving my audience the opportunity to see something they typically couldn’t then I’m not doing my job. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? DAK: I’ve learned not to previsualize too much. Early in my career I would think of the perfect image as I drove to my assignment. Rather than flowing with my subject and capturing natural moments, I would be chasing an idealized photo in my mind. Having a goal or the ability to previsualize is important but being able to react to what is in front of you is even more valuable. 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? DAK: I don’t think it matters what camera you use, your vision is your vision, unless the camera you are using is technically getting in the way. I strictly use Canon SLRs because I know the controls by heart. Currently, I can move fluidly as I work with my subjects but if I needed to relearn my equipment I wouldn’t be able to capture the same moments. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DAK: My love for photojournalism is equal to my love of art. Photojournalists like Matt Black, Sebastião Salgado and James Nachtwey have been a constant inspiration throughout my career but artists like Sofia Enriquez and Carlos Ramirez, from the California high desert, equally inspire me with their work. It has always been important to me to stay open and allow inspiration to come from anywhere and everywhere. TPL: What are some of your goals as a photographer? Where do you hope to see yourself in five years? DAK: My goal as a photojournalist is simply to shoot more. In five years I hope to see myself working more with film, either black and white or color. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DAK: I am currently working on my second solo show featuring the project, Vecinos. The exhibit is in the beginning stages and will first be shown in Los Angeles, California. TPL: When I am not out photographing, I (like to)… DAK: I’m learning new cooking techniques and recipes or hiking with my dog Shiloh. Drew A. Kelley is an incredible photojournalist, showing off the diversity and beauty of Southern California through his stunning black and white film photography. His great eye for detail and passion for storytelling make his art truly unique. To view more of Drew's photography, be sure to follow him on Instagram! VIEW DREW'S PORTFOLIO Drew's instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

BOOK BOOK March 19, 2021 MELBOURNE UNMASKED Photography by photographers from the Australian Association of Street Photographers Inc. Words by Bill Lacey and Melanie Meggs Through adversity comes new ideas. And in a small way, the Australian Association of Street Photographers Inc. (AASPI) have found a way to meet the challenge of the moment and produce this stunning alternative to what should have been a live gallery event that was sidelined by Covid. Their new book “Melbourne Unmasked” presents a remarkable array of street photography that features some of Australia’s finest practitioners of the art. Focusing exclusively on one city, the book presents a well rounded and compelling collection of street shots by 67 photographers arranged by various themes and styles who have focused on the eclectic hub that the city of Melbourne is today. If you are a fan of street, then there is something in this for you. The photographs are presented without attribution and require referencing an index. It’s an interesting choice, which at first may put you off but you soon realise they had made the right decision. The most important thing is the shot itself, not who took it. AASPI is a collective voice that promotes street photography in Australia and to provide Australian and Asian Pacific street photographers the opportunities to promote their work. The original idea behind it started in 2010 between Benard Peasley, Ell Pixell and Georgie Hart on Redbubble (an Australian online art marketplace), where they put a call out to all Victorian street photographers to gauge interest. Known then as SITHOM (Shot In The Heart of Melbourne) Benard, Ell and Georgie put together their first exhibition in June 2012 with 27 street photographers at the prestigious Victorian Artists Society in Melbourne. In 2015, the collective registered as the Australian Association of Street Photographers Incorporated (AASPI), and since then they have grown to have two major exhibitions per year, regular photo walks and their monthly Speakers Series on YouTube. SITHOM continues today under the curation of joint efforts of all the association's members. In August, the AASPI will be celebrating their 10 year anniversary with their annual SITHOM exhibition at Victorian Artists Society with a plan to invite previous presidents, past and current committee members to exhibit their work and provide both a contemporary and retrospective exhibition showcasing the 10 years of SITHOM. Future plans for the photography collective are to embrace their identity as Australian Street Photographers, support their interstate members, exhibit their work and provide more opportunities for their members to come together as a community. Currently they have members in New South Wales, South Australia, Western Australia, Victoria, and New Zealand. With approximately 150 members, they are welcoming new members from around Australia and are always on the lookout for innovative ways to showcase members' work and to support those new to street photography. The book Melbourne Unmasked is a candid homage to the people that define this eclectic Australian city everyday. It is a stronger show of SITHOM and the AASPI's talents with members' selected shots, curated as a team effort, which in the book's layout flow together with an intent of each shot complimenting and adding value to the next. If you are interested in buying the book, you can preorder a copy of "Melbourne Unmasked" through AASPI's website. Photos have been provided by AASPI and remain the copyright of their respective photographers - Brent Lukey, Susan Brunialti, Mike Reed, Adrian Whear, Suzanne Phoenix, Andrea Esposito, Joseph Chow, Emma Yench, Russell Mason, Renata Filippi, Frank Cecconi, Ben Rook, Stephen Bowater. VISIT AASPI CLICK ON IMAGES TO ENLARGE

FRAMING GEOMETRIES Rouven Kurz is a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of framed geometries. FRAMING GEOMETRIES March 17, 2020 INTERVIEW PHOTOGRAPHY Rouven Kurz INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As one wanders through the chaotic hustle and bustle of an urban metropolis, it can be difficult to make sense of the isolated individuals, the concrete structures, and the light and shadows that craft a unique atmosphere. For Rouven Kurz, a street photographer from Cologne, finding beauty amidst the chaos is an art form — one that he captures in dynamic black and white and vivid color photographs. With an eye for the unrepeatable moments when geometry, light, and random movements of strangers come together to form a harmonious composition, Rouven invites viewers to enter into his world of light and shadow and to imagine their own story. “By accident, I won a digital compact camera with an astonishing five point one megapixels when I was a teenager back in the early 2000’s. After literally annoying everyone around me I developed a knack for framing geometries.” IN CONVERSATION WITH ROUVEN KURZ THE PICTORIAL LIST: Rouven, where do you find your inspiration to create your photography? ROUVEN KURZ: In my notebooks, where I collect everything that comes along my way. Being it interesting spots I’ve seen, pictures I love, thoughts that would fly away too fast, news that move me, movies with remarkable cinematography, snippets of discussions. My key is to groom this list over and over to refine ideas, strike items from that list, find connections between separate things. TPL: Has your style of photographing changed since you first started out? RK: Among others I can recall two major changes compared to my first thousand-something pictures. The first one is more a process where I get better and better to visualize the final image before I click the shutter. The second change was enforced by me in order to get the pictures I want. It was becoming less anxious to get closer to strangers in the streets. TPL: Where is your favourite place(s) to photograph? RK: My home turf...Cologne in Germany. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RK: Saul Leiter for his almost painterly use of colors. Paola Franqui-Monaris for her storytelling and superb color grading. Brandon Stanton for his impressive portrait of New York's folk. Sean Tucker for his inspiring content beyond ace photography. Alan Schaller for his bold minimalism. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? RK: Equipment is a tool that helps you get there. While this sounds incidental, the right equipment is of great importance for me. The more natural it feels in your hands, the more you can focus on what’s in your mind and in front of your lens. My tip for starters is to spend more budget on photo books, prints, exhibitions and workshops than on the camera. If you engage deeply in photography and develop your own vision and train your photographic muscle, you will find the right equipment eventually. The tools will help you realize your vision, they will not create your vision. Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies. - Diane Arbus TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? RK: Curiosity, if I have to name one. When doing portraits you should work more with your model than with your camera. What makes this person special? What do you and your model want to portrait? In street photography you should curious about the people and your surroundings. The street always delivers. It’s up to your mind what you’re going to discover. TPL: Have you ever been involved in the artistic world before photography? RK: Nay, I’m pretty untalented in other art forms. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? RK: I am still so excited about the birthday present my wife gave me. She has organized a gallery that will exhibit my work this summer. TPL: "If I wasn’t photographing what would I be doing?... RK: I would see the world differently, I wouldn't recognize all the beauty and peculiarities in the ordinaries." Rouven's photography is a unique and captivating form of art. He is able to capture reality but also abstract, interpret, and transform it. He experiments with colors and textures to create vivid and expressive images. To take your appreciation for Rouven's photography to the next level, follow him through the links below and explore his world of art. VIEW ROUVEN'S PORTFOLIO Rouven's website >>> Rouven's instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

I am an American photographer of Indian origin, based in Northern Virginia, USA. Growing up in Kolkata, India, I came to the USA on a job visa, back in 1998. I have been taking pictures since the 1980s. My initial inspiration comes from the Indian filmmaker Satyajit Ray. From his films, I've learned the fundamentals of photography, cinematography, storytelling, composition, lighting, and many other essential techniques. PRADIP MAZUMDER I am an American photographer of Indian origin, based in Northern Virginia, USA. Growing up in Kolkata, India, I came to the USA on a job visa, back in 1998. I have been taking pictures since the 1980s. My initial inspiration comes from the Indian filmmaker Satyajit Ray. From his films, I've learned the fundamentals of photography, cinematography, storytelling, composition, lighting, and many other essential techniques. LOCATION Virginia, USA CAMERA/S Nikon D5600, Fujifilm X-T3 WEBSITE https://www.pkmphotography.com/ @_PKM_PHOTOGRAPHY FEATURES // The Holy River The Human Stage

A lover of photography since the age of 11, I consider this art form as much a means to express myself as one of the main vehicles through which to tell our time. When asked to describe my photography, I always answer with these words: "I feel the need to tell the human being contextualized in the time in which we live, without hiding the merits and weaknesses". I devote myself mainly to reportage and portrait photography, which I practice both digitally and analogically. For the past 10 years I have been studying as a self-taught artist, continuing to deepen every aspect of this art form, dedicating practically all my free time to it. In the last years I have dedicated myself almost exclusively to black and white and I have started to use the film more and more often, ending up becoming my main medium. This choice depends on several factors: the not immediate visualization of the shots, the pleasure of dealing with chemistry, the desire to master every stage of the creative process, learning to manage the development phase according to the needs of the case. Through the film, it is also possible to build a "material" archive, impossible to achieve through the digital medium. ALESSANDRO GIUGNI A lover of photography since the age of 11, I consider this art form as much a means to express myself as one of the main vehicles through which to tell our time. When asked to describe my photography, I always answer with these words: "I feel the need to tell the human being contextualized in the time in which we live, without hiding the merits and weaknesses". I devote myself mainly to reportage and portrait photography, which I practice both digitally and analogically. For the past 10 years I have been studying as a self-taught artist, continuing to deepen every aspect of this art form, dedicating practically all my free time to it. In the last years I have dedicated myself almost exclusively to black and white and I have started to use the film more and more often, ending up becoming my main medium. This choice depends on several factors: the not immediate visualization of the shots, the pleasure of dealing with chemistry, the desire to master every stage of the creative process, learning to manage the development phase according to the needs of the case. Through the film, it is also possible to build a "material" archive, impossible to achieve through the digital medium. LOCATION Milan ITALY CAMERA/S Leica M3 and MP240 WEBSITE https://www.alessandrogiugni.com/ @ALE_GIUGNI FEATURES // Colori Sospesi Nel Tempo. Geometrie Di Un'Isola (Colours Suspended In Time. Geometries Of An Island)

RAFAEL AYALA PAEZ My work explores faith as a metaphor for a country facing a challenging reality. Through these images, I seek to capture the spiritual strength and the hope that persists in our society. I aim to document how this devotion becomes a vital anchor, revealing the persistence of the human spirit even in the most difficult times. LOCATION Zaraza VENEZUELA CAMERA/S Nikon D70 WEBSITE https://rafaelayalapaez.wordpress.com/ @RAFAELAYALAPAEZ0 FEATURES // In Gratitude and Devotion

ENROUTE TO THE PINES To celebrate Pride month, Robert Sherman shares his documentary series about drag queens celebrating the 'Invasion of the Pines' in Long Island. ENROUTE TO THE PINES June 2, 2021 INTERVIEW PHOTOGRAPHY Robert Sherman INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Robert Sherman, born in Chicago, but now based in New York City, is both a photographer and a musician and composer. He developed a pure passion for the art of photography and ended up becoming the staff photographer for the Fire Island newspaper. Of late he has also become a columnist for them and manages their social media account. To celebrate Pride month, as a double-feature with our friends at Spectaculum Magazine, we have asked Robert to share some photos from his documentary series about drag queens celebrating the INVASION OF THE PINES in Long Island, part of the annual Pride month events. “I was sent on assignment four years ago and fell in love with the event. The energy of the pre-party scene in Cherry Grove, having full access with press pass to the preparations and behind the scenes “Jamboree”, and being allowed on the Queen’s Boat enroute to The Pines for the red carpet pageant was exhilarating beyond my wildest photographic and emotional dreams.” IN CONVERSATION WITH ROBERT SHERMAN THE PICTORIAL LIST: Robert please tell us about yourself. Talk to us about your work and life in New York city. When and did you become interested in photography? ROBERT SHERMAN: I was born on the south side of Chicago, but moved to Northern California when I was 12, so the west coast really does feel like my cultural roots and San Francisco my hometown. But I came to Boston for my bachelor’s degree in music and then to NYC to get my masters degree at The Manhattan School of Music. I then stayed in New York for 35 years now, so I definitely feel like a full-blown New Yorker. I freelanced as a pianist and composer for years in NYC and then landed a full time job teaching music at The Calhoun School on the upper west side. I let go of teaching after 10 years and found myself obsessively fascinated with photography, almost as if it were a new musical instrument speaking to a lifetime spent in that pursuit. My wife got tired of seeing me using my iPhone so much, so she bought me a birthday present of a beautiful Sony mirrorless, my first real camera. Three years studying the basics, as well as taking master classes in the philosophy and grammar of photography at the International School of Photography brought me to a place where I felt I could follow and realize my total immersion in this new passion, and, in short, found myself continuing incessantly to photograph everything in sight that engaged me. I now consider myself a full time freelance street photographer, portrait photographer, and photographer in general. Four years ago I was offered a job as staff photographer for the Fire Island News, a newspaper based in Long Island, NY, and jumped at the opportunity to work as a photojournalist, as well. I am now also the editor of their Instafeed, and a regularly contributing columnist for the paper. TPL: It is Pride Month, and we have scheduled your feature of the Invasion of the Pines drag event in celebration of this special month. How did you get involved in this event? RS: I was sent on assignment four years ago and fell in love with the event. The energy of the pre-party scene in Cherry Grove, having full access with press pass to the preparations and behind the scenes “Jamboree”, and being allowed on the Queen’s Boat enroute to The Pines for the red carpet pageant was exhilarating beyond my wildest photographic and emotional dreams. Below deck I could find quiet moments of introspection and tender friendships, isolation, restrained nervousness and excitement, raw enthusiasm for the explosive moments to come upon landing at the next town over, The Pines, the exiting down the ramp and onto the red carpet for the pageantry and the fashion gala in front of thousands of spectators, revelers, supporters and beautiful people of like minds. I have covered two such events so far (Covid having blocked last year), the third coming up this July 4, and have never been able to shoot less than 1,500 photographs each time. I narrow them down to around 50, and from that, the paper chooses about 10 shots for publication. The rest are for me and my utter adoration of the process. It is my absolute favorite assignment of the year. TPL: What do you find especially interesting about the event in particular, and about drag in general? RS: In spite of the historical and current social hardships the LGBTQ community faces, there is a level of 'celebration of self' that is unmatched in most other groups or circumstances I’ve witnessed. Not unlike the amazing beauty of the carnival and birthplace of the incredibly intoxicating Samba music in Brazil —a country rife with suffering and pain— somehow finding its way toward the purest forms of all-encompassing celebration, this Invasion event is a true and total immersion into ecstatic revelations of how beautiful each and every one of us are, as we are; unfiltered and true to ourselves. I find myself enthralled by how being so utterly convinced of one’s beauty within makes each and every participant the most exquisite presence on earth. TPL: Are there any other events that celebrate Pride that you would recommend for photographers interested in the subject? RS: In spite of its challenges as a photographer and perhaps an outsider, with the crowds and crowd blockades, the NYC Pride March remains the most fantastic and enormous event of its kind. All of it, wherever you go to celebrate Pride Month, one will find a plethora of pure celebration that is impossible to not want to capture in image, narrative, and emotive content. TPL: In general regarding your photography, where do you find your inspiration to create? RS: I am not finding myself able to put my work in any particular "record bin". I can’t categorize nor “brand” myself. I simply must photograph what’s in front of me, that which engages me. I feel like I literally fall in love for that fraction of a second in which this endeavor eventuates. TPL: What do you want people to remember about your photography? RS: The images themselves. I don’t wish to be seen in the photograph. If anything, perhaps there’s a common thread of continuity in the part of me that sees and captures what’s in the image. But I strive to have the pieces speak for themselves. This Invasion event is a true and total immersion into ecstatic revelations of how beautiful each and every one of us are, as we are; unfiltered and true to ourselves. TPL: Do you have any favourite artists or photographers you would like to share with us? RS: Miles Davis, Elliott Erwitt, Irving Penn, Bill Evans, William Eggleston, Thelonious Monk, Diane Arbus, Betty Carter, Dorothea Lange, João Gilberto, Helmut Newton, John Coltrane, Chehalis Hegner, Hyuna Park... don’t get me started. The list is too long. TPL: Do you have a favourite place to photograph? RS: New York City is by far the most amazing place to simply walk around with camera in hand. So many colors, walks of life, people who are in their own world, and all the many who wish to be seen, who want to be photographed. That reminds me, one more quick one for the previous list: Bill Cunningham, the great fashion photographer on the streets of New York with his bike and camera simply riding around and capturing all the best of the best moments. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. RS: I think it’s neither, unless I’m in a more formal portrait project setting in which I am looking for very specific ideas. I think I try to “go to the images” and not wait to let them “come to me”. I move a lot. As in jazz improvisation, where there is a requirement of super-focus, studied instinct, and practiced intuition that asks you to anticipate the next 'inevitable' note, the same applies in photography: to see the shot ahead of time and move toward it with a sense of composition, decisive moment, expression, interaction, narrative, or simply the 'stealing of beauty'. Because I feel that stories and beauty are everywhere and in everyone. You just have to look for, and reach out toward them. 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? RS: I’ve stuck with Sony, and it has done everything I need and want with complete satisfaction. I’ve upgraded two times since my first camera, following my evolving needs. And now sit happily with the mark IV. I have nine lenses for various settings: 200-600mm for surf photography, wildlife, and nature, I prefer the 135mm f1.8 for portrait work, as a little compression always helps to further beautify faces, or my zeiss batis 85mm if I want more of the environment around the subject. For street I go in all directions, mostly 50mm, but I also play with compression and discretion on my 70-300mm, or the circus act warping of my 12-24mm, I have a 90mm and a 32mm macro. And my 24-70mm, although burdensome and at times off-putting for the people around me, is a beautiful street photography solution, as it sometimes forces the issue of real engagement with the subject in the moment. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? RS: I have a solo show offered to me by the Ocean Beach Historical Society, during its centennial celebration of the city, opening on July 16 on Fire Island, NY, entitled 'Here, There, and Back Again'. It will be a collection of individual photographs, triptychs, portraits, from “home” on Fire Island, and New York City, and abroad in Italy and Southern Spain, from street photography to character studies to the aforementioned Pride Invasion in brief series from below deck of the Queen’s Boat to the red carpet, a few nature shots, as well as honoring my lifetime passion for surfing in some local gems off the shores of life on Fire Island. Beyond that, the next project will certainly be realized one way or another, I have no doubt. My aspirations are to keep shooting what I find fascinating, and presenting both in series, as well as the seemingly fresh focus on the stand alone 'individual photograph'. Of course I want to sell and make museum level works and show in important galleries everywhere. But most of all, at this point in my life I just want to tell stories, write “songs” with my camera, no, with my eye and heart, and continue to see all that surrounds me and find the moments I wish to capture and share with anyone who wants to join me in it all. I just want to keep falling in love. TPL: "When I am not out photographing, I (like to)… RS: Edit photographs and print them for true indulgence of their actual value in my life, play my 1924 Steinway Grand and my 1965 Hammond B3 organ for myself at home, surf, spend time with my grown children and my beautiful wife, and eat ice cream." We take the opportunity as we celebrate Pride month to thank Robert for sharing with us this historical and important event for the LGBTQ community, where there is a level of 'celebration of self'. Please use the links below to see more of Robert's inspiring visual storytelling. VIEW ROBERT'S PORTFOLIO INVASION OF THE PINES on Spectaculum Magazine >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

THE STREET IS A CACTUS Hakim Boulouiz tells stories around poetry, paradox and mystery by using all the layers involved in the construction of urban drama. THE STREET IS A CACTUS October 12, 2020 INTERVIEW PHOTOGRAPHY Hakim Boulouiz INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Are you fascinated by the art of capturing moments in the urban sprawl? Do you love to explore the chaotic yet beautiful spaces and uncover their hidden stories? Then you should meet Hakim Boulouiz, a professional photographer, writer and expert on urban aesthetics who lives and works in Geneva. He is passionate about cities, entranced by their order and disorder, and seeks to tell tales of poetry, paradox and mystery through his work. Drawing inspiration from colours, light, shadows, prints, walls and bodies, he believes that every ordinary moment can be transformed into an extraordinary one with patient observation, creativity and a lens. To Hakim, street photography is a kind of visual recycling - like a sculptor forming shapes out of scrap metal or a designer giving waste new life. He believes beauty can be found everywhere, if you are willing to take the time to look. His favourite approach is to get up close to his subjects using a fixed wide-angle lens. He’ll show you how to see, how to take your time and believe in your art. Join us as we explore Hakim Boulouiz’s incredible journey through the streets, discovering the ephemeral language of each city fragment and casting light on how even the most mundane things can be made extraordinary. “The best painter of a cactus is the one who forgets that he is drawing a cactus, focusing only on the lines, shadows and shapes. This one will have the fairest, strongest, most sincere cactus because the artist puts aside his prejudices and decides to simply look at the thing in front of him. You have to do the same with the street. The street is a cactus!” IN CONVERSATION WITH HAKIM BOULOUIZ THE PICTORIAL LIST: Hakim please tell us about yourself. When did you start getting interested in photography? HAKIM BOULOUIZ: I'm a professional photographer and an expert in urban aesthetics based in Switzerland. After receiving a diploma in architecture, a diploma in film-making, and a master's degree in land planning, I completed a PhD at the University of Geneva, analysing the mutual inspiration between urban modernity and the art of short film. Besides that, I have written a book about that, "Désirs de rue" published recently by MétisPresses, under Voltige libre Collection. TPL: Where do you find your inspiration to create? HB: I find inspiration on a terrace of a café that I don't know, in meditation, in nature during a walk in search of mushrooms. I find inspiration when I'm stuck in traffic jams, or when I'm talking with very old people near the entrance of a supermarket. I also find inspiration online, on Tik Tok, on Behance, by reading an autobiography, trying something new: a new dish, a new language...The most important thing is to have the courage to note ideas which pass like a flash. Believe me, it's this discipline which will make the difference! Creative people are methodical and well organised people, contrary to popular belief. The draft mind only gives the beginning of a sentence that remains endless. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? HB: I would like to express surrealism. My goal is to make the surreal from the real. The surrealist image, would have an anchorage in the concrete and would in this way be able to express the surrealist that emerges from the everyday. Surrealist image is not anti-realistic, but takes its departure from the real in order to express real fantasies by unreal images. Surrealism is not a mechanical description that reflects reality as it is, but it is an artistic work that does not ignore reality. The surreal image passes from the man seen in his exterior, to the man seen in his interior. Surreal photography does not revolutionise, it subverts, that is to say, it does not reverse the classical images, it breaks them to install new ones. It is in this way creative. The sublime (and not the beautiful) is no longer the prerogative of enchanted forests, but is found at the corner of every street, in the layout and wear of cities. It is, therefore first an experience of existence and afterwards transcribed in an artistic form. I consider this photographic surrealism not a school in itself, but rather a way of being, a way of doing things. It is a concept, an interpretation of the elements of the city and its contents. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? HB: I analyse, of course, the work of some great photographers, living and dead, but I also nourish my approach by other forms of expression, such as poetry and short literature. Cinema inspires me enormously, especially German Expressionism, young independent Asian cinema and Pier Paolo Pasolini. However, painting remains essential in photography. I love Magritte, Caravaggio, Brueghel, etc. They remain great masters for all visual arts. TPL: Where is your favourite place to photograph? HB: When I go somewhere, my first goal is to be able in the end to build a complete series about something special. Of course, it's not always possible, but it's important to think like that to stay motivated. In general, I'm looking to photograph the usual and unusual life (that's what I call 'street'). It can be outside or inside. I love crowded places because they can be very inspiring for my kind of work. I'm always looking for colours, contrast, layers, action, movement, markets, celebrations, fascinating characters and bizarre scenes. I have no preference of place or cities, everything is possible everywhere. Sometimes there are places that are theoretically very good, but if you are there at the wrong time of the day under bad light, or with equipment that is not adequate for the situation, it is of no use to you and you've wasted the day. The urban scene is full of paradox: friendly and dangerous, beautiful and ugly, cheerful and sad. Through photography, I seek to raise questions about the fragility and the complexity of human life inside that paradox. TPL: Do you prefer to photograph alone or with friends? HB: It all depends on friends...and contexts. The problem is when I photograph I stop talking and I'm in full concentration! So, if I'm with friends whom I haven't seen for a long time, I prefer not to take pictures, so to take advantage of their presence (it's the minimum of politeness). It is very difficult to find the right friends to photograph the street with. This is because we do not all have the same walking rhythms and the same tastes for the different places. One of the solutions is to go on our own ways and make regular appointments every hour or 45 minutes, for example. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? HB: My biggest challenge while on the street is to be able to get closer to the subject (I believe on immersion with it). I use both analogue and digital cameras, but only with fixed lenses of 28mm, 35mm, 50mm and 85mm. Sometimes with two cameras, like a war photographer in a peaceful place, and also for being rapid while working. I am very sensitive to the size of the camera I use. The size determines the style. The best cameras are the ones you can carry with you everywhere, so you are always ready to grab the moment. For beginners in street photography I recommend not a new camera but rather quite simply to make the decision to see the world again beyond its prejudices and to scrutinise it with a new eye which brings a new vision for the others. The best painter of a cactus is the one who forgets that he is drawing a cactus, focusing only on the lines, shadows and shapes. This one will have the fairest, strongest, most sincere cactus because the artist puts aside his prejudices and decides to simply look at the thing in front of him. You have to do the same with the street. The street is a cactus! TPL: Have you ever been involved in the artistic world before photography? HB: I have always been involved in fine art. When I was young I did a lot of drawing and painting. Then, I became an architect. During my studies I was in contact with several artistic expressions in the service of this discipline. Afterwards, I studied cinema and I became a film director...little by little I decided to professionalise myself in photography, this is where I am completely immersed today, and I find myself completely in this fascinating art. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? HB: Today I photograph a lot commercially and at the same time I have long-term personal projects, such as Wax Dolls or Fresnel that I had started for a few years now. My goal is to release books from that with publishers, when the projects are finished, even if it never happens! Leonardo da Vinci said: "Art is never finished, only abandoned." TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? HB: The urban scene is full of paradox: friendly and dangerous, beautiful and ugly, cheerful and sad. Through photography, I seek to raise questions about the fragility and the complexity of human life inside that paradox. The best image resides in an ability to convey moments of reflection to the man himself and clear a path that might make sense to him. My goal is to inspire the viewer and share with him a piece of the city and a piece of life. I'm a photographer because I would like to tell stories. I think photography is a fantastic medium for that. I'm a photographer because I would like to communicate beyond the barriers of languages and cultures. I am a photographer because I would like people to stop and think. I am convinced that powerful images can motivate the observer to ask questions and take actions that lead to changes. For me, this is the greatest goal of an artist, a utopia that motivates me every moment. In five years I see myself exhibiting more my work and showing it in several places, to give lectures and share my experiences with the public. TPL: “When I am not out photographing, I (like to)… HB: When I'm not making pictures, I like to listen to music, visit exhibitions, stroll in flea markets and I watch a good movie at least once a week, the cinema remains a very good visual training. I'm also a dad of a lovely little boy who is starting to amaze me with his questions and his own view of the world. I spend a lot of time playing with him. Now he also has his camera and I believe that we will soon start shooting together, if he agrees...Don't forget, freedom of choice is a very sacred thing, isn't it?” Hakim Boulouiz is a photographer who is able to take ordinary moments and transform them into something extraordinary. By observing and capturing the order and disorder of cities, Hakim is able to tell stories of poetry and mystery. His work is a reminder to us that even the smallest things can be made special. If you're looking for an inspiring journey of creativity and self-discovery, explore Hakim's work by using the links below. VIEW HAKIM'S PORTFOLIO Hakim's website >>> Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

PICTORIAL STORY IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak not only paid homage to his timeless work but also embarked on a transformative journey. March 2, 2024 PICTORIAL STORY photography KARIN SVADLENAK story KARIN SVADLENAK introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In following the footsteps of the masterful Ansel Adams, Karin Svadlenak not only paid homage to his timeless work but also embarked on a transformative journey. Her project in the Dolomites stands as a testament to the enduring power of black and white photography and the emotional depth it can convey. Through her endeavours, Karin has not only deepened her own understanding of the craft but also offered a contemporary homage that resonates with the timeless beauty Ansel Adams captured. A public relations manager for a university department in Vienna, Austria, a world traveller, and passionate magazine editor and blogger, Karin combines an insatiable curiosity for art, culture, and photography with a love for storytelling. Karin’s photography project serves as a compelling reminder that the art of photography is not merely in the act of capturing an image, but in the meticulous process of creating a visual narrative that speaks to the soul. Just as Ansel Adams believed, a photograph is indeed made, not taken. Karin’s journey reminds us all to look beyond the surface, to study the play of light and shadow, and to find inspiration in the legacy left by the masters of our past. Through her photography and writing, Karin continues to be inspired by Ansel Adams and his legacy. She, like many others, recognises him as the Master of Landscape Photography and is grateful for the opportunity to honour his work through her own. “You don't take a photograph, you make it.” - Ansel Adams I started landscape photography at a young age. At that time, I was shooting with a Minolta XG 2, a high school graduation gift, and on trips I would look for deserted landscapes for my compositions. One day, I came across a book of Ansel Adams’ photographs in a bookstore and was deeply impressed by his dramatic black and white images. Ansel Adams is considered one of the most important photographers of the 20th century. His landscape photographs of the American West, beginning with his photos of Yosemite National Park in the 1930s, are world famous. Adams used the elements of composition, such as lines, shapes, light and shadow, for his high-contrast black and white photography. These were not snapshots; he went out with a large format camera on a tripod and would wait patiently for the right light and compose his images very carefully. He also developed his ‘Zone System’, a photographic technique used to achieve optimal exposure and development in black and white photography. It’s essentially a system for understanding and controlling the tonal range of your image. The system divides the tonal range of an image into eleven zones, numbered 0 to 10. Zone 0 represents pure black, zone 5 represents middle gray, and zone 10 represents pure white. The system was developed for film photography, where exposure has to be handled a little differently from digital photography (exposing for the shadows rather than the highlights for the most part). But some of it was also done in post processing. The development process further affects the final tonal range. When one is not familiar with film photography, one might think that analog photographers did not have a lot of editing possibilities. This is true if you have your photos printed in a lab. But if you develop your own negatives and prints, you could actually do quite a lot. By adjusting the development time for both, you can influence the contrast and density of your negatives, you can highlight certain areas of an image and darken others, further refining the tonal relationships within your image. Knowing this, I did not feel apprehensive about using dodge and burn on my digital images to achieve the desired effect, even when I digitalise analog photographs. For my “homage” project, I had the opportunity to photograph (with an Olympus EM10 Mark III) the beautiful mountain landscape in the Dolomites. The Alpine landscape that I photographed was particularly suited to black and white images, because I was also primarily interested in the dramatic shapes and lighting conditions that I found there. The atmospheric conditions that day were perfect, lots of fog and clouds, but also later blue skies and a lot of good light for contrasty images. Although I originally shot the images in colour, for this homage to Ansel Adams I tried to edit them in his style: high contrast, with a lot of dodging and burning (in my case digitally), and of course in black and white. Ansel preferred black and white even when colour photography became popular. The contrasts between light and shadow underline the drama and intensity of his images. I undertook this project for a final exam presentation at the Prager Photo School for Artistic and Applied Photography in Linz, Austria. I completed a two-year training program there in December 2023. One of the elective modules was Landscape Photography, so this was it. This project was a great learning experience for me. While I was familiar with Ansel’s photography, for this project I looked at many photographs more closely and learned a lot about his photography style. I am very happy with the results of this project, and I am grateful for the opportunity to have it highlighted. © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez As we reflect on Karin’s beautiful photographs, we are reminded of the profound impact a single photographer can have on generations to come. The ability to see beyond colour, to manipulate light and shadow, and to harness the raw beauty of nature in a frame, is a skill that Adams mastered, and Karin has respectfully emulated. Her work encourages us all to explore the world with fresh eyes and to appreciate the intricate balance between technique and vision. In the spirit of Adams’ wise words, Karin Svadlenak has not merely taken photographs; she has made art. May her dedication inspire others to pick up their cameras, to study the Masters, and to create with passion. For in the dance of light across the film — or the pixels on a sensor — we are all bound in the pursuit of capturing the sublime, and in doing so, honouring the Masters upon whose shoulders we stand. view Karin's portfolio Read an interview with Karin >>> Read Karin's exhibition review "City of Images" >>> Website >>> Viennacultgram >>> Spectaculum Magazine >>> 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 >>> COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. 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.

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. SPONTANEITY AND SERENDIPITY February 16, 2025 INTERVIEW PHOTOGRAPHY Meera Nerurkar INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Street photography is a constant negotiation between observation and instinct, where the photographer navigates public spaces in search of moments that reveal something essential about human interaction, spatial dynamics, and the passage of time. For Meera Nerurkar, the streets of Düsseldorf are both a subject and a stage, using her camera to engage with its shifting patterns. An ode to spontaneity and serendipity, Meera captures fleeting moments that might otherwise pass unnoticed — gestures, expressions, or quiet moments of humor. By returning to specific locations, Meera immerses herself in a process of visual research, exploring how light, activity, and perspective shift over time. The street, in her work, is not simply a backdrop but an active participant, influencing and shaping the outcome of each frame. Photography becomes a method of recording these interactions, preserving moments that would otherwise disappear. Her images encourage prolonged viewing, prompting an engagement with the mechanics of seeing and the ways in which photography alters perception of space and time. In this interview, Meera Nerurkar reflects on her process, her relationship with the spaces she photographs, the challenges of working in an unpredictable environment and how street photography allows her to interpret the world on her own terms. Through her work, Meera captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. “For me, light plays a very important role in street photography. Sometimes a whole street setup is interesting and other times the smallest details like an attire, a gesture, a wink or a gaze is enough for me to stay there for getting my shot. Rhythm and a story are very important for me in a photograph.” IN CONVERSATION WITH MEERA NERURKAR THE PICTORIAL LIST: Hello Meera, welcome to The List! Can you take us back to where you grew up and share how the visual and cultural landscape of your childhood influenced the way you see the world today? What elements from that environment continue to shape your artistic perspective? Meera: I grew up in a very traditional Indian family with loving parents and brothers in a small city. It was a beautiful life with lots of focus on Academics. The whole year was full of festivals in India, and I have pleasant memories of celebrating them with relatives and friends. As a child I was always fascinated with the idea of how such small gatherings can cheer up and unite families and strengthen bonds. TPL: When you look back at your younger self, do you see hints of the photographer you would become? Meera: In my earlier years, I never thought I would be a photographer as I was more focused on my academics and finished my engineering degree. I even prepared for the Indian Civil Services Exam. TPL: Were there any early struggles — technical or emotional — that shaped your approach to photography? Meera: Everyone reaches a stage in life where you start finding what makes you really happy. Having gone through a roller coaster of emotional incidents in life like losing my father in my early 20s to marrying off a loving husband to moving to different cities as his job took us. I also faced some ups and downs on the health front...I believe that struggles define and shape lives of human beings, different life experiences make one more resilient and stronger. TPL: What defining moments have marked your journey as a street photographer? How have these turning points influenced your perspective and approach to capturing your narratives of the streets? Meera: I initially experimented with nature photography, wildlife photography till in 2019, I stumbled upon this fascinating genre called street photography. I immediately felt connected and rediscovered myself in this surreal world. I became more observant suddenly, watching and photographing people in action with a backdrop of static, urban surroundings making the moment magical with the game of light and shadow. Every street photo would tell a different story and the best part of this is you can never plan to have a particular shot, it just happens. You just need to be present there totally when the magic moment happens and capture it with your creative mind and speed. One defining moment was one of my very early street photos getting selected in major photography festivals which definitely gave a major boost to pursue my passion in street photography forever. TPL: Does street photography make you feel more connected to people, or does it reinforce the sense of being an observer? Meera: I am a relatively introverted person. So, observing and capturing the moments defines my day as a street photographer rather than engaging with the subjects. People moving and interacting in urban backdrops with light as a major contributor in enhancing aesthetics, drives my theme in street photography. TPL: Has photography changed the way you perceive and interact with the world around you, even when you don’t have a camera in hand? Meera: Not really. As I said I am an introvert and I am the same person even with a camera in hand. But then I tend to open up a bit in the company of other good street photographers who inspire me. TPL: Which photographers, artists, or even filmmakers have inspired your way of seeing? Meera: There are many photographers who inspire me. To name some of them I would say Masters Gary Winogrand, Joel Meyerowitz, Alex Webb, Harry Gruyaert and many other contemporary photographers from all over the world. TPL: If you could sit down and have a conversation with any photographer, past or present, who would you choose and what burning question would you ask them? Meera: I have never thought about such a moment but then if I have to imagine such a conversation, it would be more towards asking the Master photographers questions on the work they have done, what inspired them and how they made all those legendary photographs. I am a continuous learner, and I would like to get a different perspective from each interaction with different photographers. TPL: What is left for you to explore? Is there something new — technically, emotionally, or thematically — that you’re eager to pursue in your photography? And looking five years ahead, where do you envision your journey taking you, both artistically and personally? Meera: Recently I have started exploring the use of flash in street photography. Let’s see where it takes me. TPL: If we had a glimpse inside Meera's photography bag, what would we find? And is there something on your Wish List — a piece of gear or accessory — that you’re eager to add to your collection to push your work even further? Meera: My favourite Leica camera, lots of spare batteries and memory cards. As I said, a good flash would be the next accessory which I plan to add in the near future. TPL: When you're not out capturing the pulse of the street, what would we find Meera doing in her downtime? What activities or moments help you recharge and keep you grounded outside of photography? Meera: I enjoy reading books, watching good movies, good food, traveling , spending time with my mother and family in India and cooking different dishes for my family! Meera Nerurkar’s journey into street photography is a reminder that creative passions often find us when we least expect them. What began as a casual curiosity evolved into a deep, immersive practice, allowing her to carve out a space where observation and instinct converge. Her ability to capture fleeting moments with precision and sensitivity speaks to her ever-evolving perspective, one shaped by personal experiences, cultural roots, and a relentless pursuit of creative growth. As she pushes her work forward — experimenting with new techniques like flash photography — Meera remains true to the spontaneity and serendipity that first drew her to the streets. Her images are invitations to pause, to see, and to feel. Whether capturing the play of light, a subtle gesture, or the quiet humor of daily life, she reminds us that the world is filled with stories waiting to be told. And wherever her path leads, one thing is certain — her vision will continue to uncover magic in the most unexpected places. VIEW MEERA'S PORTFOLIO Instagram >>> read more interviews >>> WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

Born and raised in the United States, I am a passionate photographer who is always ready to take my skills to the next level. While I love all genres of photography, I consider myself more of a creative photographer. As my interest in photography evolved, I began to experiment with different camera techniques and particularly love using intentional camera movement to create a more abstract or artistic feel to my photos. I am mesmerized by vibrant colors, beautiful light and the tiniest details, and enjoy the challenge of photographing the mundane. Yellow is one of my favorite colors and is the color of thread that ties this series of photographs together. For me, yellow is cheerful and reminds me of my sister. My work has been published online in several National Geographic Your Shot stories and has been published in Click Magazine. I have been exhibited in the National Geographic Museum in Washington D.C., the Sacramento Fine Arts Center in California and Blindwell Art Gallery in the United Kingdom. ELIZABETH PAOLETTI Born and raised in the United States, I am a passionate photographer who is always ready to take my skills to the next level. While I love all genres of photography, I consider myself more of a creative photographer. As my interest in photography evolved, I began to experiment with different camera techniques and particularly love using intentional camera movement to create a more abstract or artistic feel to my photos. I am mesmerized by vibrant colors, beautiful light and the tiniest details, and enjoy the challenge of photographing the mundane. Yellow is one of my favorite colors and is the color of thread that ties this series of photographs together. For me, yellow is cheerful and reminds me of my sister. My work has been published online in several National Geographic Your Shot stories and has been published in Click Magazine. I have been exhibited in the National Geographic Museum in Washington D.C., the Sacramento Fine Arts Center in California and Blindwell Art Gallery in the United Kingdom. LOCATION UNITED STATES CAMERA/S Nikon D7200, Nikon D5000 @ELIZABETH_PAOLETTI_PHOTOGRAPHY FEATURES // Let the Sun Shine