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AFTER DARK Changes in her life caused Jules to have an emotional connection to the world around her, noticing how the ordinary can be extraordinary. AFTER DARK May 31, 2020 INTERVIEW PHOTOGRAPHY Jules Carr INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Jules Carr has always had an interest in photography, but it was only a couple of years ago that her interest was ignited into something much more intense. After experiencing a life changing event, Jules found herself feeling an emotional connection to the world around her, and started to notice the beauty of the ordinary. By exploring the ever-evolving urban landscape during the nighttime hours, Jules has been able to capture a cinematic atmosphere in her photographs. With each shot, she is striving to capture that one perfect moment that will stay suspended in time forever. Though Jules is not yet where she dreams of being, she is continuously experimenting and searching in the hopes of finding that elusive shot. Join us as we explore Jules’s journey and uncover the magical and mystical world she has created. “I have been interested in photography for as long as I can remember, but I have only been taking it seriously relatively recently. Two years ago I was still snapping away on a smartphone, then I joined Instagram and became obsessed!” IN CONVERSATION WITH JULES CARR THE PICTORIAL LIST: Jules, where do you find your inspiration to photograph? JULES CARR: Everywhere! I'm fascinated by the ordinary, the mundane, stillness, empty spaces. TPL: Have you ever been involved in the arts before photography? JC: I've always been interested in art and design. I'm also a musician. TPL: Who are your favourite artists/photographers? JC: So many favourites! Photography wise, Julia Margaret Cameron, Lee Miller, Robert Frank, William Eggleston, Fred Herzog, Norman Parkinson, Don McCullin, Todd Hido, Joshua K. Jackson to name just a few. I particularly like mid 20th century American photography. Too many artists to mention, but I’d include Whistler, Grimshaw, Hopper, and Hockney. TPL: Has your style of photographing changed since you first started? JC: In many ways my compositions are not radically different these days, but I'd like to think they are more refined. My editing skills are definitely better than they used to be, thank goodness! I am learning all the time. TPL: Where is your favourite place(s) to photograph? JC: Empty urban landscapes, after dark. I'm fascinated by the ordinary, the mundane, stillness, and empty spaces. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? JC: I think it very much depends on what you hope to achieve. You really don’t need expensive gear to produce great photos. For me personally, the image stabilisation on my Sony enables me to take great handheld shots in low light, which means I can take my camera anywhere without needing a tripod. Perfect for me as I like spontaneity and travelling light. My favourite lens is the cheapest I’ve bought: a vintage Zeiss Flektogon with bags of character. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone just getting started in your genre? JC: Hmmm…slight obsessive tendencies don’t go amiss! I notice frames everywhere I go, but I'd say my best shots are the ones that I have an emotional attachment to, that capture a mood. I don’t feel qualified to give advice, but I’d say take endless shots, and never stop looking! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JC: Like many photographers' in these unprecedented times, when the coronavirus lockdown started it seemed really important to me to document it. So began an exciting collaboration with photographer and musician James Bacon @thesheffieldlens, which has resulted in a still evolving online exhibition entitled “Still Life”. This explores the poignant emptiness of the surreal urban landscape by day and by night. Caught between the loss and uncertainty, there is Still Life. I am also concentrating on urban night photography at the moment, with a view to hopefully producing a photo book at some point. TPL: "If I wasn't photographing what would I be doing?... JC: Something musical!" PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. 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.

I was particularly interested in art, painting and with the introduction of the internet and digital photography into our lives, I turned to photography. I started to subscribe to photo sites on the Internet and for a long time I just watched. Then I bought a small compact machine, telling myself "why don't I just do it too". I did not receive any training in photography. I developed myself completely by my observations and reading. I practiced on the streets all the time. Being on the streets, documenting those ordinary, simple moments makes me happy. As Saul Leiter said, “I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.” By adopting this saying as my philosophy, I try to discover those short moments and beauties in our daily rush. I am a founding member of the @womeninstreetturkey ASLI GONEN I was particularly interested in art, painting and with the introduction of the internet and digital photography into our lives, I turned to photography. I started to subscribe to photo sites on the Internet and for a long time I just watched. Then I bought a small compact machine, telling myself "why don't I just do it too". I did not receive any training in photography. I developed myself completely by my observations and reading. I practiced on the streets all the time. Being on the streets, documenting those ordinary, simple moments makes me happy. As Saul Leiter said, “I happen to believe in the beauty of simple things. I believe that the most uninteresting thing can be very interesting.” By adopting this saying as my philosophy, I try to discover those short moments and beauties in our daily rush. I am a founding member of the @womeninstreetturkey LOCATION Eskisehir TURKEY CAMERA/S Fujifilm X-M1 @GONENASLI FEATURES // Short Moments

The basis of all my work lies in those closest to me - my family. They have provided the opportunity to document, engage and experience a vast world of emotions as well as shared experiences. It is a compulsion that continues to drive me to pick up a camera every day. VIN SHARMA The basis of all my work lies in those closest to me - my family. They have provided the opportunity to document, engage and experience a vast world of emotions as well as shared experiences. It is a compulsion that continues to drive me to pick up a camera every day. LOCATION New York UNITED STATES CAMERA/S Canon EOS R5 WEBSITE https://www.vinsharmaphotography.com/ @VIN_SHARMA_PHOTO FEATURES // Making Connections Domestic Wasteland Coalescence

I'm a self-taught street photographer. The streets interest me as there is always a story in every scene waiting for me to discover. Every scene on the street is also fleeting. This ever-changing nature of street photography makes it great fun to photograph and I never get bored of it. My favorite photos are those with few humans in it and that they are not the main subject. This symbolises to me, how small we really are and that humans are not always the main subject. Sometimes taking a step back, we see that the universe is so much bigger and we are only mere specks in it. However, the human element is also important as without them, the scene would not be the same. CHEN XIANGYI I'm a self-taught street photographer. The streets interest me as there is always a story in every scene waiting for me to discover. Every scene on the street is also fleeting. This ever-changing nature of street photography makes it great fun to photograph and I never get bored of it. My favorite photos are those with few humans in it and that they are not the main subject. This symbolises to me, how small we really are and that humans are not always the main subject. Sometimes taking a step back, we see that the universe is so much bigger and we are only mere specks in it. However, the human element is also important as without them, the scene would not be the same. LOCATION SINGAPORE CAMERA/S Olympus OMD-EM5ii @THE.TINYSPECK FEATURES // Singapore Scenes

PICTORIAL STORY FESTIVALS IN SICILY May 7, 2021 PICTORIAL STORY Photography by Agata Lo Monaco Story by Valeria Tardo (translated from Italian) SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The photographic project Festivals in Sicily was born from the intention to tell, through images, celebrations and religious rituals of ancient tradition that still play a prominent role in Sicily. The choice of reportage photography is linked to the desire to weave a visual narrative capable of combining the analytical perspective with a documentary slant, with artistic expression. Agata Lo Monaco's gaze captures faces, gestures, details and overall views, selecting and returning to the observer's eyes segments of a reality that is both objective and intimately subjective, a reflection of an individual feeling from which a non-verbal discourse full of suggestions unfolds. The photographs Agata took in 2014 in Gela on the occasion of the feasts of San Giuseppe and Madonna dell' Alemanna are the result of a contemporary point of view that aims to capture the underlying ancestrally of religious cults that are also characterized by a marked theatricality, for a devotional fervor that takes the form of a complex of external elements that refer to the staging. The use of black and white emphasises the pathos of photographic representation and is connected to the stylistic choice of Ferdinando Scianna, a Sicilian photographer who in the 1960s developed a work with a similar subject. Of the feast of St. Joseph, which takes place on the 19th of March, the artist fixes the most characteristic aspect, namely the setting up of the so-called altars in the private homes of those who thank God for having granted them grace, for having heard a prayer. These are in fact large tables set to represent particular votive offerings (ex-votos) , foods and food products made with a function attributed to them, which refer to the concept of votive offerings that was already present in polytheistic religions prior to the advent of Christianity. They are practices that testify to humans' atavistic search for contact with the divine sphere. At the end of the party and the exposition of the ex-voto to visitors, the food is eaten during a sort of ritual lunch presided over by three people, usually of humble socio-economic background, who symbolize the members of the Holy Family. On the first of May (May Day) the same Saint is celebrated in his persona of a worker, and on this occasion an auction of goods donated by the faithful to the Church takes place in the town square, which also includes the presence of live animals (poultry and sheep). The photos show, with great insight, the generational contrast in the perception of a strongly folkloristic scenario that seems to have little to do with spirituality. The body language and the looks of the participants speak of this contrast. Agata immortalises the veiled restlessness and the noticeable disturbance in the astonished gazes of the children, who reveal a certain empathy towards the suffering and fate of those animals with their legs tied, being treated as if they were inanimate puppets. They are counterbalanced by the pride and cheerfulness of the adults, exemplified in particular by the showy smile, almost a grin, of an old woman who has just won a rooster. It is inevitable to ask if the strength of a devotion that crystallizes into tradition will continue to guarantee its survival. On the feast of Maria Santissima dell' Alemanna, which is celebrated from the 5th to the 8th of September, Agata's documentary captures the moments of the exit of the consecrated statue of the Virgin Mary from the church, with the crowd of faithful extending their hands to heaven. The procession includes stops dedicated to the undressing of newborns for the blessing of the priest, they are raised upwards, in the direction of the statue of the Madonna, by a priest. The children's clothes are then bought back by the parents themselves so that the proceeds can be donated to the poor. Finally, there is the so-called paliantino or cuccagna a mare , on the Gelese beach. A horizontally arranged pool supported by two trestles is placed in the water, and the competitors are asked to walk the surface, sprinkled with grease and soap, trying to catch the flag placed on the opposite end without falling into the sea. A sporting competition inserted in the context of the feast in honor of the patron saint of the city that makes one think of the gymnastic competitions of the ancient Greek civilisation, the athletic competitions connected to the cults of the Panhellenic sanctuaries, such as that of Olympia, or the Athenian Panathenaic festivals that commemorated the goddess Athena, protector of the polis. In reality, the veneration of the Madonna dell' Alemanna has its roots in the early modern age, originating from the discovery, in 1476, of a medieval Marian icon that is believed to have been brought to Gela by the Knights of the Teutonic Order. As the Teutonics' were called Alemanni on the island, the Madonna was given this name. The origin of this fascinating custom is uncertain. © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco © Agata Lo Monaco Agata's photographs possess an almost bodily intensity and a fervent evocative charge and artistic sensitivity, and so they manage to transmit in a palpable way the mingling of sacredness and materiality that distinguish Sicilian religious holidays, as heritage of a varied and deeply stratified culture. view Agata's portfolio Read an interview with Agata >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. 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.

I'm a photographer passionate about travel and about observing life, wherever that may be and in whichever photographic genre it happens to be. It's hard to categorise a style or genre, as this is limiting to the photographs I make. While, like many photographers who work on the street, much of what I shoot gets jettisoned, the good shots capture who we are as people - our strengths, humour and emotions. Curiosity is key, and making sure that the eye through the lens never judges. JENNIE BLYTHE I'm a photographer passionate about travel and about observing life, wherever that may be and in whichever photographic genre it happens to be. It's hard to categorise a style or genre, as this is limiting to the photographs I make. While, like many photographers who work on the street, much of what I shoot gets jettisoned, the good shots capture who we are as people - our strengths, humour and emotions. Curiosity is key, and making sure that the eye through the lens never judges. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm XT3 WEBSITE https://www.jennieblythephotography.com/ @JENNIEBLYTHEPHOTOGRAPHY FEATURES // Different Tangents

I have traveled and even lived abroad mainly to Western Europe and the United States with grants, travel grants, and invitations form universities and cultural institutions as an Art Historian, researcher and curator. I am now a retired Art Historian and Curator of Contemporary Art (not photography). I have dedicated myself to photography as a passion/hobby since two years ago and currently that is my main activity. My intentions are most of the time to question the "realism" and "truth" of photography. Many times, I try to create photos that would stimulate the viewer to look more than once. I would like him/her to stop in front of the image and think what he/she is looking at. My goal is to problematize the gaze. I like to work with camera movement or the movement of the characters I am photographing, I am very attracted by reflections, sometimes I enjoy very much by the presence of shadows. Visual ambiguities are very appealing to me. ALICIA HABER I have traveled and even lived abroad mainly to Western Europe and the United States with grants, travel grants, and invitations form universities and cultural institutions as an Art Historian, researcher and curator. I am now a retired Art Historian and Curator of Contemporary Art (not photography). I have dedicated myself to photography as a passion/hobby since two years ago and currently that is my main activity. My intentions are most of the time to question the "realism" and "truth" of photography. Many times, I try to create photos that would stimulate the viewer to look more than once. I would like him/her to stop in front of the image and think what he/she is looking at. My goal is to problematize the gaze. I like to work with camera movement or the movement of the characters I am photographing, I am very attracted by reflections, sometimes I enjoy very much by the presence of shadows. Visual ambiguities are very appealing to me. LOCATION Montevideo URAGUAY CAMERA/S Sony A6300 WEBSITE https://aliciahaber.com/ @ALICIAHABER7103 @ALICIAHABER2 FEATURES // Visual Ambiguities

I take photographs every day. I also paint, sing and dance. I like to walk around without an agenda and catch whatever piques my eye. I’ve always been into art but additionally have loved fashion, popular culture, languages, music and dancing since I was a child. I was born in London into a Persian Jewish family. My mother was an Israeli ballet dancer, from whom I inherited a love of dance and music. I even imagined becoming a fashion designer and spent my free time drawing and designing clothes. I’ve used a camera most of my life; my father had bought me a Kodak Brownie 127 when I was kid. At home we placed a lot of value on family photographs and home movies. As a teenager loved going to art galleries on my own; it felt like an adventure and an entry into a fascinating world and an escape from suburbia which I considered frustrating and boring. I studied art history with Italian and French languages at Sussex University. It was during my year abroad in Venice that I started developing my own photos in a darkroom. My camera at that time was an Olympus OM1. I was also painting on canvas, mainly abstract expressionist still life and self portraits, but increasingly felt that the future for me was in photography and not fine art painting. On my return to England I also worked as an artist’s model which gave me an understanding of what it’s like to be on the other side of the artist’s eye or lens. In the late 80s I did a degree in Photography and Visual Culture at the University of Westminster, studying Semiotics and the writings of Saussure, Roland Barthes, John Berger and Susan Sontag as well as the work of photographers such as Jo Spence whose project Beyond the Family Album really resonated with me. I later went on to teach interdisciplinary courses in Art History, European Studies, Visual Culture and Film studies for many years which also involved curating film programmes for an independent cinema, before deciding to focus on my own creativity and Blog. Now, in my mid 60s, I feel blessed to be able to live a creative life. MISH AMINOFF I take photographs every day. I also paint, sing and dance. I like to walk around without an agenda and catch whatever piques my eye. I’ve always been into art but additionally have loved fashion, popular culture, languages, music and dancing since I was a child. I was born in London into a Persian Jewish family. My mother was an Israeli ballet dancer, from whom I inherited a love of dance and music. I even imagined becoming a fashion designer and spent my free time drawing and designing clothes. I’ve used a camera most of my life; my father had bought me a Kodak Brownie 127 when I was kid. At home we placed a lot of value on family photographs and home movies. As a teenager loved going to art galleries on my own; it felt like an adventure and an entry into a fascinating world and an escape from suburbia which I considered frustrating and boring. I studied art history with Italian and French languages at Sussex University. It was during my year abroad in Venice that I started developing my own photos in a darkroom. My camera at that time was an Olympus OM1. I was also painting on canvas, mainly abstract expressionist still life and self portraits, but increasingly felt that the future for me was in photography and not fine art painting. On my return to England I also worked as an artist’s model which gave me an understanding of what it’s like to be on the other side of the artist’s eye or lens. In the late 80s I did a degree in Photography and Visual Culture at the University of Westminster, studying Semiotics and the writings of Saussure, Roland Barthes, John Berger and Susan Sontag as well as the work of photographers such as Jo Spence whose project Beyond the Family Album really resonated with me. I later went on to teach interdisciplinary courses in Art History, European Studies, Visual Culture and Film studies for many years which also involved curating film programmes for an independent cinema, before deciding to focus on my own creativity and Blog. Now, in my mid 60s, I feel blessed to be able to live a creative life. LOCATION London UNITED KINGDOM CAMERA/S Leica d-lux 7, Fujifilm xt4 WEBSITE https://www.mishaminoff.com/ @MISHAMINOFF FEATURES // End Of An Era

THE URBAN RELATIONSHIP British photographer Tommaso Carrara focuses on the relationship between the human and the urban environment. THE URBAN RELATIONSHIP July 30, 2020 INTERVIEW PHOTOGRAPHY Tommaso Carrara INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE London is a bustling city full of life and color, stories and secrets. But beneath the hustle and bustle, a different side of the city emerges for those lucky enough to capture it with the right lens. Tommaso Carrara is one such photographer who has captured the hidden beauty and emotion of London's streets through his ongoing project of capturing silhouettes of people in the cityscape. As a security engineer by day, Tommaso spends his free time exploring London, camera in hand, seeking to capture a meaningful and mysterious representation of the human figure within the urban environment. His images are a stunning celebration of the human form and London's unique beauty. Join us as we explore the world of Tommaso Carrara and gain insight into his ongoing project of capturing the relationship between people and their environment. Practice does not make perfect. Only perfect practice makes perfect. - Vince Lombardi “Not only I am a perfectionist at heart, but I am also a firm believer that, besides from exceptional cases, most of us have pretty much the same capabilities. As such, in order to succeed, it is up to us to find what our skills are, understand them and improve as we go along.” IN CONVERSATION WITH TOMMASO CARRARA THE PICTORIAL LIST: Tommaso, when did you start getting interested in photography? TOMMASO CARRARA: I have always liked beautiful photographs, but I have never been interested in 'making' photographs. Until December 2018 when, following the end of a relationship, I felt the need to investigate my inner thoughts and try to somehow explain what was going on. This is when I bought myself a proper camera and began self-learning about how to actually operate it. TPL: Where do you find your inspiration to photograph? TC: Most of the times I find my inspiration just by walking the streets, in search of it. Some other times, depending on my emotions, I may look at the surrounding with different eyes as well. Last but not least, masters of photography are also a very important starting point when it comes to inspiration. TPL: Is there anything you want to express through your photography? What are some of the elements you always try to include in your photographs? TC: I do not generally follow a specific pattern while shooting as I tend to freeze a moment/person/situation that inspires me. I believe that inspiration may come from a variety of elements such as light, shadow, mood, feelings that cross my path. Therefore there is no such thing as a scheme of elements that I always include in my photography. At the same time, I cannot really say what I want to express through my photography. Often I do not even know what I am trying to communicate myself in the first place, and I would prefer not to influence the viewer. What I really care about is knowing that the viewer comes up with their own interpretation, which I think is the ultimate meaning of any form of art. TPL: What is your process when you are out photographing the street? TC: Generally, when shooting the streets, I am open to pretty much everything that draws my attention. As such, I do follow a limited number of patterns, but amongst these are surely trying to be stealthy and work the scene and wait for the right situation to present itself. TPL: Do you prefer to photograph alone or with friends? TC: I prefer to photograph alone for mainly because I see photography as a very intimate moment which also requires concentration and the lack of distractions. TPL: What is your preferred lens/focal length? TC: My go-to lens is the Fujinon 35mm 1.4f (50mm in full-frame terms) as it allows me to shoot in low light situations and at the same time keep some distance from the subject. My passion for photography started as a way of investigating myself after a key moment of my life. TPL: Who are your favourite artists/photographers? TC: My favourite photographers are Henri Cartier-Bresson, Joel Meyerowitz, Saul Leiter and Vivian Maier. Saul Leiter probably being the one who most inspired my style. TPL: Has your style of photographing changed since you first started? TC: Indeed my style of photographing has changed since I first started, and I expect it to keep changing with time. For instance, I used to shoot a tad wider but I seem to like narrower now. Additionally, it is not only the focal length, but especially the way I compose the photo. Now I am a little more careful and strive to as much as I can in camera, without the need to work too much on post. TPL: Where is your favourite place to photograph? TC: The streets of big and busy cities. More specifically London, which is where I currently live. TPL: What are some of your goals as an artist? Where do you hope to see yourself in five years? TC: My passion for photography started as a way of investigating myself after a key moment of my life. As this is not a source of income, I feel that I have the freedom to follow this path at my own pace. However, I do not exclude that photography may become for me a full-time commitment. TPL: Are there any special projects you are currently working on? TC: I have been working on two projects currently "Rough Details" (a collection of my favourite photographs from urban environments across the world in the form of silhouettes) and "Looking out of the window" (photo-series aims at documenting the many different ways people immerse themselves in their thoughts during this very intimate moment) TPL: If I wasn't photographing what would I be doing?... TC: Probably spending more time typing on a computer. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. 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.

I thought that, with time, all the questions I have been asking myself for years about my relationship with photography would be resolved. To give evidence of a world in continuous change?, To provoke feelings?, Poke around in the consciences?, Hedonistic exercise? Selfish Utilitarianism?, Memory sustenance? Far from it, a multitude of possible answers remain open. Doing photography: a crude attempt to usurp from Life infinitesimal parts of its Time - that merciless God - to recompose them in whimsical combinations of light and shadow, creating illusory windows to the outside world but also to the inner one. I hardly ever photograph objects, monuments or landscapes, which, if anything, are mere decorations accompanying a single protagonist: the human being, with his strengths and miseries, with his yearnings and frustrations, with his laughter and tears. And I can't remember a single one of my photographs in which, at the moment of shooting, I have not been accompanied by the deep conviction that only chance or even time are the single reason why I’m not that old man from a remote tribe, that devotee in ecstasy inside a madrassa, that beggar sheltering from the rain under the tin or that nouveau riche who disdains everything that doesn't concern him in the first person. I do not photograph what I see but what I am. I never think of my photographs as art objects or consumer items, they have nothing to do with ephemerality either. I think of them as tools at the service of a simple idea so masterfully summarized by Wayne Miller: the universal truths of being human. I firmly believe that the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us, like mirrors, some unknown part of ourselves. RPNUNYEZ I thought that, with time, all the questions I have been asking myself for years about my relationship with photography would be resolved. To give evidence of a world in continuous change?, To provoke feelings?, Poke around in the consciences?, Hedonistic exercise? Selfish Utilitarianism?, Memory sustenance? Far from it, a multitude of possible answers remain open. Doing photography: a crude attempt to usurp from Life infinitesimal parts of its Time - that merciless God - to recompose them in whimsical combinations of light and shadow, creating illusory windows to the outside world but also to the inner one. I hardly ever photograph objects, monuments or landscapes, which, if anything, are mere decorations accompanying a single protagonist: the human being, with his strengths and miseries, with his yearnings and frustrations, with his laughter and tears. And I can't remember a single one of my photographs in which, at the moment of shooting, I have not been accompanied by the deep conviction that only chance or even time are the single reason why I’m not that old man from a remote tribe, that devotee in ecstasy inside a madrassa, that beggar sheltering from the rain under the tin or that nouveau riche who disdains everything that doesn't concern him in the first person. I do not photograph what I see but what I am. I never think of my photographs as art objects or consumer items, they have nothing to do with ephemerality either. I think of them as tools at the service of a simple idea so masterfully summarized by Wayne Miller: the universal truths of being human. I firmly believe that the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us, like mirrors, some unknown part of ourselves. LOCATION San Javier SPAIN CAMERA/S Nikon D810 WEBSITE https://www.rpnunyez.com/ @RPNUNYEZ_PHOTOGRAPHER FEATURES // Red Blood Abyssinian Diaries The Whirling Dervishes of Konya Turkiye

EIGHT HOURS Enzo Crispino gives a nostalgic imprint to his project to help us imagine that the metalworking company is no longer operational. EIGHT HOURS February 15, 2021 INTERVIEW PHOTOGRAPHY Enzo Crispino INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Enzo Crispino is an acclaimed artist and interpreter of photography who defies conventional definitions of what a photographer is. Born in Frattamaggiore, a small town in the South of Italy, Enzo has been recognised for artistic merit by the International Academy of Modern Art in Rome and has been awarded the Diploma al Merito in Art by the Accademia di Significazione Poesia e Arte Contemporanea. His work has been widely published in esteemed magazines, and he has had two books published. His latest project 'Eight Hours' explores the human experience through a series of stunning photographs. As the world continues to evolve and technology advances, so do the ways in which work is performed and completed. From the introduction of automated processes to the mass transfer of production, the workforce has experienced a dramatic shift, with a significant reduction in role and increase in job losses. Through 'Eight Hours' project, Enzo seeks to commemorate and remember this ever-changing industry, creating nostalgic scenes of a once bustling metalworking company that has since been transformed into an exhibition space. His aim is to capture the memories of this type of work and provide visitors with a glimpse into the history of a place that was once full of life. Through the use of carefully chosen tones, Enzo hopes to evoke a sense of melancholic beauty, allowing visitors to connect with the past and recognize the impact that advancements in technology have had on the workforce. Through his art, Enzo invites us to discover the world around us through a unique and captivating perspective. “It was important for me to emphasise the enormous loss of skills created in these small engineering companies, which were very widespread in northern Italy where these manual skills were fundamental, while today with the digitization and robotization of the industrial process they are no longer needed. In this way we will lose forever the great training school of the mechanical engineering world. My intention is to induce all of us to question ourselves about the negative effects that globalisation inevitably brings with its relentless pursuit of profit as an absolute goal. Cultural roots and memory make us emerge for our place, our history and cultural diversification, are a heritage and a wealth that people of every place cannot afford to lose, beyond which there is only homologation.” IN CONVERSATION WITH ENZO CRISPINO THE PICTORIAL LIST: Enzo you have shared with us your special documentary project EIGHT HOURS. What is this about? ENZO CRISPINO: These fifteen photos are part of a project with the same name composed of eighty five images, which I realized in the small metalworking company where I have been working for 22 years as a turner on machine tools. The 'Eight Hours' project that I present is inspired by an idea based on two considerations: the massive transfer of production and the increasing automation of all processes in the sector that have had a strong impact on the workforce employed, both eliminating it and reducing its role. In this project I wanted to give a nostalgic imprint, using tones that would help me to imagine this metalworking company no longer operational, but only as an exhibition space; its ultimate utility function. Ample spaces are offered to visitors, where its previous appearance is shown, leaving these spaces now destined to cultivate 'memory'. TPL: The negative impact of globalisation has thrown uncertainty over our smaller industries worldwide. You personally are being impacted. What would you like the viewer to experience when they see these images? What would you like for them to take away from this? What did this project reveal about yourself? EC: When I decided to create the photographic project “Otto Ore” (Eight Hours) I posed many questions, the prevailing one was whether it would be useful to produce it. In those photos I brought a small reality out of the context of the world of metalworking, unknown to most people, made of old machinery and tools whose use is not familiar to everybody. Certainly I would not have produced anything original, since photographs and books on the world of work and industrial architecture have existed for a long time, a masterful example is the reportage on Pittsburg that the American photographer W. Eugene Smith did for Magnum in 1955, or the important research of the German couple Bernd and Hilla Becher. Nevertheless I wanted to talk about 'my' world of work, a daily school that teaches us to know and love what work is and to discover that there is also the culture of work. That culture made of territorial identity of the world of work that unfortunately we are losing with the advent of the new dogma of 'globalisation' in the 2000s. In these photos, where I have taken pictures of details of machine tools that I use every day, I wanted to connote it with a choice of a particular chromatism that would induce a nostalgic sense, even to those who observe them and are not familiar with this small but important world of work. I think that a small result has been to draw attention to such a particular subject. An Italian publisher decided to make it into an editorial project by publishing a book with the same title. The project has also received the attention of several photo magazines in Italy, France, Spain, Germany, Austria, England, and Australia, plus a personal exhibition of three months in my home town during the 13th edition of the Festival of Photography and Fotografia Europea 2019 Reggio Emilia, sponsored by the same municipal body. TPL: You do not consider yourself a photographer but an interpreter of photography? Can you explain what you mean? EC: In the beginning, photography was just a simple hobby for me, I didn't pose any questions, I just took pictures because I liked what I saw and it attracted my attention. As time went by, this hobby turned into something more important that stimulated me to go deeper. I felt the need to fill my gaps in photographic technique, but even after this study I was still dissatisfied. I didn't feel the photos I took were mine, I perceived them as anonymous, cold images, far from me without a personal identification. By reading books on photography I decided to study chromaticism and how to interpret it differently in photography. In one of them, a book by one of the great masters of Italian photography, Luigi Ghirri, the author described what photography was for him. He said, "Photography is not pure duplication or a chronometer of the eye that stops the physical world, but it is also a language in which the difference between reproduction and interpretation, no matter how subtle, exists and gives rise to an infinity of imaginary worlds." It was revelatory for me, it was the answer to my continuous dissatisfaction, his thought gave me the way to understand that photography has different languages. Taking a picture is not only to freeze forever a moment, but in it we have the possibility to transfer any emotion, feeling, or mood, artistically reinterpreting that moment with our own sensitivity and making it unique, so it will never be just a photograph as an end in itself. TPL: When did you first discover your love for photography? EC: My encounter with photography was completely accidental, during a driving vacation to England in the summer of 1990. At that time I had bought a compact Ricoh camera without any ambition but only to bring home some memories. During the vacation I remember the moment when we were in Avebury visiting the Stone Circle, I asked a friend if he would let me see through the viewfinder of his Minolta Reflex camera the scenario in which we were immersed and I clearly remember the huge wonder I felt. At the end of the vacation I decided to get started with the hobby of photography by buying my first low-cost reflex camera, a Canon 1000. TPL: In general, your photography feels incredibly personal, focusing on storytelling and pulling the viewer into your inner thoughts. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? EC: I have been asked this question many times on other occasions and this has always been a reason for me to feel embarrassed; I am afraid of appearing inappropriate, of giving a presumptuous image of myself. I don't intentionally seek to create an intimate photograph: it is a natural inclination deriving from the fascination I have for poetry. When I visit certain places (e.g. the interior of a house or a beach), before taking the photos, my eyes observe and are guided by the verses I have in my mind to build the new project, and the photos come by themselves, without ever looking for the perfect photo. I have never been interested in producing a perfect shot. I've always been looking for one thing only, namely that photography should give me an emotion even in its imperfection. That same imperfection which has always been present in my photographs. TPL: Where do you find your inspiration? EC: In 2015 I had to take a pause for reflection, unable to take pictures anymore, and feeling the need for a change, something giving me new life in taking up the camera again. While preparing my first photographic project, I realized that I needed something giving it some 'consistency' to avoid building up a simple sequence of images as an end in itself, even if well structured. I then recalled a poem by the Italian poet Giuseppe Ungaretti entitled 'Wake' that I had studied at school. I associated my photos with the verses and realized that they fit together perfectly. Since then, in each of my new projects I try (but do not always succeed) to blend poetry and photography together. I think that conceptual photography inspired by a poem, or a free excerpt of some verses, gives more depth to the work itself. This analysis process fascinates me, and I need it to find the answers I am looking for. Photography can also be not merely a matter of photos, but an association of two fields combined to create something new. Poetry has since then become my first inspiration in thinking and preparing photographic projects. Like many others, I have my favourite poets from whom I take inspiration: Alda Merini, Giuseppe Ungaretti, Pier Paolo Pasolini, Pablo Neruda, Gabriele D' Annunzio. For some time I had been trying to find my own way in color, something in which I could recognize myself, and I found it in the dominant yellow that I wanted to always be perceptible in my photos. 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? EC: I have never thought that a camera could give a particular contribution to the vision in photography and I have never chosen an SLR camera just for its brand. On the contrary, I've always had a strong curiosity in photography. It has made me realise that if you don't have photography in your mind first, you will never have it in your eyes. I've never been attracted by special techniques in taking pictures or preference of focal lengths. Depending on the situation I've always set the one I thought was most suitable. I have been photographing for seven years with a mirrorless Olympus E-M1 and always with a single lens mounted, the Olympus Pro 12-40mm f2.8. TPL: When you go out to photograph, do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both? EC: The concept that I want to transpose into images since I began to produce photographic projects is already present in my mind when I take a picture. Later on when I am on a site, I let myself be moved by my state of mind in that moment and I interpret the original concept that I had in mind. Only this way I can create a photograph that is as personal and true as I seek it to be. TPL: Have you ever been involved in the creative world before photography? EC: I've always been fascinated by art, visiting exhibitions and museums. Thanks to my passion for photography, this has given me a further opportunity to learn it more thoroughly, relating with many artists during the participation in collective national and international exhibitions representing a fruitful and important cultural exchange. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? EC: My goal is to have the chance to continue to be moved by photography more and more. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EC: For some time now I have been studying a French photographer from the past. Two of his books on the city of Paris fascinate me particularly, his name is Eugene Atget. I'm working on two projects inspired by his style, the first is on Paris, I have tried to translate his evocative atmospheres in a modern urban context where presence of man is pretty inexistent, giving a stylishly vintage yet elegant connotation. TPL: When I am not out photographing, I (like to)… EC: I love reading, a way for me to relax my head from worries, I prefer historical novels and books of poetry. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. 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.

I am a writer, a professional photographer and an expert in urban aesthetics with a multidisciplinary training currently living and working in Geneva. I am a big lover of cities, fascinated by order and disorder. I look to tell stories around poetry, paradox and mystery by using all the layers involving the construction of urban drama such as colors, light, shadow, prints, walls and bodies. After receiving a diploma in Architecture, a diploma in Filmmaking, a Master's degree in Territory Planning, I completed a PhD at the University of Geneva analyzing the mutual inspiration between urban modernity and the art of short film. Most of my street work is based on ordinary situations and daily events, believing that the street is the sum of small moments, rather than one general frame. However, every ordinary moment can be transformed into an extraordinary one through the lens. The banal can become the most significant only if there is observation, patience, perseverance, composition and creativity. Each portrait of a city fragment has its own and ephemeral language. That’s the reason urban spaces are magical and why the image remains so essential. I consider street photography as a visual recycling, like a sculptor manufacturing several forms from scrap metal or a designer working to give waste new life in a new use. Beauty is everywhere and the artist has to see, to learn how to see, to take his time and to believe in his art. One of my favorite strategies is simply the desire to get close and to use immersion with his subject by using a fixed wide angle lens. has won several international photography awards. HAKIM BOULOUIZ I am a writer, a professional photographer and an expert in urban aesthetics with a multidisciplinary training currently living and working in Geneva. I am a big lover of cities, fascinated by order and disorder. I look to tell stories around poetry, paradox and mystery by using all the layers involving the construction of urban drama such as colors, light, shadow, prints, walls and bodies. After receiving a diploma in Architecture, a diploma in Filmmaking, a Master's degree in Territory Planning, I completed a PhD at the University of Geneva analyzing the mutual inspiration between urban modernity and the art of short film. Most of my street work is based on ordinary situations and daily events, believing that the street is the sum of small moments, rather than one general frame. However, every ordinary moment can be transformed into an extraordinary one through the lens. The banal can become the most significant only if there is observation, patience, perseverance, composition and creativity. Each portrait of a city fragment has its own and ephemeral language. That’s the reason urban spaces are magical and why the image remains so essential. I consider street photography as a visual recycling, like a sculptor manufacturing several forms from scrap metal or a designer working to give waste new life in a new use. Beauty is everywhere and the artist has to see, to learn how to see, to take his time and to believe in his art. One of my favorite strategies is simply the desire to get close and to use immersion with his subject by using a fixed wide angle lens. has won several international photography awards. LOCATION Geneva SWITZERLAND CAMERA/S Olympus OM-D E-M5 WEBSITE https://www.hakimboulouiz.com/ @HAKIM.BOULOUIZ @HAKIMBOULOUIZ FEATURES // The Street is a Cactus