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SPAIN COLLECTIVE Aneeka Manku is a photographer based in England whose journey through Spain is inspired by ordinary life and that in which it embodies. SPAIN COLLECTIVE September 9, 2020 INTERVIEW PHOTOGRAPHY Aneeka Manku INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Aneeka Manku is a photographer based in England whose work is inspired by the beauty of everyday life. From the land, nature, and architecture, to the people, interactions and the destruction, Aneeka’s photography captures the emotions, simplicity, and stillness of our world. Her subjects are often lone, still and quiet, with color used to express her feelings. In 2019, Aneeka embarked on a journey through Spain, capturing the country’s bright and beautiful landscapes. The result was her series SPAINCOLLECTIVE 2019: a collection of high contrast photos that display a homely, intriguing view of Spain that will leave you in awe. As you explore Aneeka's journey to Valencia, Cuenca and The Pyrenees, be prepared for an immersive experience that will leave you feeling connected to this incredible country. “Simplicity, feeling and stillness is what best sums up my work. I always feel that there are two captures for each photograph - one is with your eyes and the second with the camera. There is feeling attached to each capture and what you are trying to do is best portray that feeling through your own creative, technical and editorial style. A finished photograph should feel whole, and completely focused on that moment.” IN CONVERSATION WITH ANEEKA MANKU THE PICTORIAL LIST: Aneeka please tell us when you started getting interested in photography? ANEEKA MANKU: I’ve always had a keen interest in photography but didn’t pursue it until very recently, around 1-2 years ago, when my partner gifted me my first DSLR camera. I guess my interest began from a very young age when I would take pictures at family gatherings and on holidays. TPL: Where do you find your inspiration? AM: It may be cliche, but inspiration is anywhere and everywhere! Unless I am going out to shoot a specific event or experience, inspiration is usually instigated on daily journeys and ordinary routines. For me, what becomes to be the subject, sparks inspiration by itself. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AM: Quite a few but a couple I would highlight are - Steve McCurry - I absolutely love his work as it feels very real and true to the people and places captured. The visual outcome is simply beautiful, particularly with use of colour, something with I love to play with in my own photography. Alexander Bronfer - Bronfer’s work stands out among many for me. His style is simplistically unique, yet each photograph speaks volumes. The finish of his photographs create depth and add to the overall feeling of the image itself. Others include: Joel Meyerowitz, Raul Canibano and Michael Yamashita. For me, what becomes to be the subject, sparks inspiration by itself. TPL: Where is your favourite place to photograph? AM: I wouldn’t say I have a favourite place to photograph, each experience is different and not be compared. TPL: Have you ever been involved in the artistic world before photography? AM: No I haven’t, photography is my first and solely pursued artistic passion…so far! "When I am not out photographing, I (like to)… AM: Besides reading and a love for the outdoors, you would find me researching psychology-related topics - another passion which I will be taking one step further by studying for my MSc in Psychology this year. Sometime in the future I would like to incorporate psychology within my photography, working with other collaborators on social and community projects." 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.

EVA CHRISTINA NIELSEN My photography emerges from a deep instinct to observe and document. Since my earliest experiences with a Kodak Instamatic, the act of photographing has been tied to curiosity, human connection, and the search for quiet beauty. Working mostly in black and white and natural light, I photograph people and places encountered in daily life. Using a Leica Q2, I work intuitively, responding to what unfolds rather than constructing elaborate scenes. I do not work within strict projects. Instead, my practice is guided by attention and an openness to the small, often overlooked moments that surround us. Through these images I hope to pause time briefly, revealing beauty in the ordinary and creating photographs that allow viewers to enter their own thoughts, memories, and stories. LOCATION Vänersborg SWEDEN CAMERA/S Leica Q2 WEBSITE https://www.evachristinanielsen.com/ @EVA_CHRISTINA_NIELSEN FEATURES // Silver and Breath

I began exploring photography many years ago, when the first mobile phones with cameras became available. Back then, I mostly photographed family and friends. Over time, as I started to travel - especially to India - my interest deepened, and my style began to evolve. India became an incredible source of inspiration. In the beginning, I was drawn to capturing the chaos, colors, craziness - trying to fit as many people and as much life as possible into a single frame. But with time, and through recent travels beyond India, I started to realize that sometimes, less is more. A recent trip to Ethiopia had a profound impact on me and shifted my perspective very much. The few places I visited there deeply influenced how I want to approach my work in the future, in a more simplistic way. I know I’ll return to Ethiopia, and I’m eager to explore other parts of Africa as well - to capture its beauty in a much more minimal and also cleaner way. SEBASTIAN PIATEK I began exploring photography many years ago, when the first mobile phones with cameras became available. Back then, I mostly photographed family and friends. Over time, as I started to travel - especially to India - my interest deepened, and my style began to evolve. India became an incredible source of inspiration. In the beginning, I was drawn to capturing the chaos, colors, craziness - trying to fit as many people and as much life as possible into a single frame. But with time, and through recent travels beyond India, I started to realize that sometimes, less is more. A recent trip to Ethiopia had a profound impact on me and shifted my perspective very much. The few places I visited there deeply influenced how I want to approach my work in the future, in a more simplistic way. I know I’ll return to Ethiopia, and I’m eager to explore other parts of Africa as well - to capture its beauty in a much more minimal and also cleaner way. LOCATION Duesseldorf GERMANY CAMERA/S Fuji X100V @SE6ASTIANOWICZ FEATURES // Unknown Abyssinia

THE SILENCES WHERE WE SEE Francesca Tiboni's personal journey as a photographer depicts the unique cultural stories found in her community in the old city of Cagliari. THE SILENCES WHERE WE SEE February 18, 2022 INTERVIEW PHOTOGRAPHY Francesca Tiboni INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Francesca Tiboni’s personal journey as a photographer is rooted in her communication skills and depicts the unique cultural stories found in her community in the old city of Cagliari, Sardinia. Focusing on the simple details of everyday life, presented to her as she walks through the enchanting neighborhoods of this medieval city, Francesca translates through her photographs what it is like to live in a city with so much history, with little influences from outside cultures. Francesca’s family plays an integral role in her exploration, leading to a better understanding of how they are becoming part of Cagliari’s story, and what colorful details they will add to this part of Italy’s history. The Pictorial List asked Francesca to share her explorations, and some of her discoveries. “I have been living in this city for 15 years and I am deeply in love with it. It has a moving beauty, for the light, the colors of the stones, the enchanting sea. I can't stop discovering it. It is a privilege to feel welcomed in a place but, at the same time, to keep the stranger's gaze and amazement.” IN CONVERSATION WITH FRANCESCA TIBONI THE PICTORIAL LIST: Francesca please tell us about yourself, and what your work is in corporate communications. What does your work bring to your photography? FRANCESCA TIBONI: My work pushes me to put myself on the client's side, to understand his point of view. I often have to translate information from a very technical language to a more easily understood language. Photography is also the story of many points of view. Your own, that of those who are photographed. A set of many different perceptions that visually build a new message that encompasses all these components. TPL: You say you inherited your passion for photography from your father, paint that portrait of him, and explain the inspiration and passion he left you with. FT: My father was a simple amateur photographer but he always encouraged me in this passion and, in general, he’s always been very supportive of my choices. He is a person very attentive to detail, without being obsessed, he certainly passed to me the devotion for precision and for a job well done. Two of my maternal uncles took and developed their photos at home. Even though I came from a very peripheral place, a village in the mountains of northern Italy, where the lack of cultural stimuli, like museums, bookshops, theaters, cinemas and exhibitions create a narrow environment. The access to flashes of beauty aroused in me a desire for research which I was then able to satisfy in the years I spent at Ca Foscari University in Venice. TPL: Do you feel your work documents or is an expression of the moments you capture in the street? FT: I think both readings are true, honest street and documentary photography does not artificially create situations to build a story but, at the same time, it is the point of view of the shooter that creates the story. No one is more aware than photographers of the many different truths that can be told. TPL: Francesca, you photograph beautiful details of your city, what do these details mean to you in the wonderful stories they tell. How have the streets and culture you capture influence your photography? How have your captures changed the way you see Cagliari? FT: For some years I have been doing research on the city of Cagliari which is not so much about finding beautiful geometric shapes or interesting palettes. What interests me is to discover how the city of people and that of buildings intertwine, how the city changes over time and yet maintains elements that characterise it and make it unique. Distinctive features that pass from people to the urbanised environment and vice versa. This investigation passes through the exploration of the suburbs which are more of a social concept than a geographical one. Poverty, the invisibility that hides both near and far from the Inner city. I am a person deeply in love with humanity, for many years I have volunteered in the prisons here, listening to the prisoners. I have remained in love with humanity, a humanity that underneath remains even in people suffering the most, or who have committed the worst crimes. Through urban details, clothes hanging, windows, walls painted in one way or another, I like to tell the beauty that comes from man. Sometimes we think that harmony is found only in the beauty of nature, I find it a lot in the suburbs, between peeling walls, in spaces that people want and need to personalize. TPL: Is there an artist that has influenced your work? If so, who were they and what was the influence? FT: A photographer I enormously admire is Joel Meyerowitz, as an artist and as a man. His approach to photography, a continuous research that changes over time, is something that fascinates me. Beyond the images of him, his words are of great inspiration. In moments of artistic confusion, I listen to some of his podcast interviews that I saved on my phone, he always manages to bring me back to the surface. I love his photographs but also his words. In general I like photographers with a profound and prophetic vision of reality, who tell stories delicately: Raymond Depardon, Mary Ellen Mark, Alex Webb and Rebecca Norris Webb, Alec Soth, Jesse Marlow, Luigi Ghirri and Gianni Berengo Gardin… I could go on and on. Documentary photography tells so many stories that as photographers, stay with us. They may even change the way we see or the way we tell stories. A cause with a direct effect. Is there a special photographic moment you can recall that will always remain with you, that changed your view of the world in which you shoot in? I like to photograph people on the street, when I feel a particular energy I approach them and ask if I can take a picture. The subjects shot are always involved with me, they are people to whom I explain the use I will make of the images and with whom I will remain in contact with later. Partly because of my personal journey and partly because of the level of openness that I give and that I ask for in the moment of photography, often people I engage even for a few minutes of a street portrait, they share experiences very painful and personal with me. I remember the first two portraits I took with a 35mm lens, which forced me to be in a certain proximity. They were both women and both told me about episodes of their life so distressing and intimate that in the end they cried in front of me and I behind the camera. I was absolutely not prepared for such an opening of heart. Later I started interacting in a slightly different way with the subjects in order to give space to their story without letting themselves be overwhelmed by emotion like a flooding river. It must be a moment of intense but harmonious exchange. Sometimes we think that harmony is found only in the beauty of nature, I find it a lot in the suburbs, between peeling walls, in spaces that people want and need to personalize. TPL: When you are out shooting - how much of it is instinctual versus planned? FT: Before shooting and after shooting I am super rational. Before, I dedicate time to plan, after, to analyse my bad photographs that are somewhat vivisected. It is a merciless activity from which I learn a lot. While I photograph, on the other hand, I am totally in a trance state, I enter another dimension that is totally instinctive and irrational. TPL: What are any lasting impressions you would like to leave the viewer? What is their ‘Take Away’? FT: There is always room for beauty, if you look for it, you will find it. 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?) FT: I switched to Leica in 2018, all the photos showcased here are made with a M10 and a 35mm lens. This camera helped me to focus completely on creativity, on how to make the photo and not how to manage the camera. Recently I was involved in a collaboration with Leica Camera Italia that gave me the opportunity to try the new M11 and, apart from the amazingness of the camera, I can say that the M system is just the perfect fit for me. Light, easy to use, producing astonishing files that need very basic editing. I feel that using a prime lens pushes me to create better photos and a nicer connection with my subjects. TPL: Is there an artist or photographer’s quote that has inspired you and influences the way you approach your work? FT: I love Henri Cartier-Bresson quote - “You just have to live and life will give you pictures”. For me, the most important part of the process is the encounter with people: life. Photography is a consequence of this encounter. Sometimes the encounter remains, it is lived, but there is no photograph and I’m totally OK with that. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? FT: Working full time, not as a photographer, and having a family with two young children behind me, I hope that my work conveys, especially to other women, the message that there is always the possibility to dedicate oneself to something you love, to express yourself artistically, in an art form as humble yet powerful as photography. In five years I see myself making better photos with the same enthusiasm or more! TPL: "When I am not out photographing, I (like to)… FT: I like being involved in any experience that asks me questions instead of giving me answers." 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.

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

EPHEMERAL REALITY Street life fascinates Juancho Domínguez causing him to keep looking for that unrepeatable scene and able to capture an ephemeral reality. EPHEMERAL REALITY November 11, 2020 INTERVIEW PHOTOGRAPHY Juancho Domínguez INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Juancho Domínguez is an inveterate pursuer of the ever-evolving street scene. His passion for street photography is deeply ingrained in his soul, and has only grown with time. From the hustle and bustle of the city streets to the small alleys and avenues, Juancho has captured a unique, unpublished reality that is hard to replicate. His use of black and white photography adds further drama to his body of work, while also providing a unique insight into the changing landscape of Venezuela. Juancho’s work speaks deeply to his own generation, as many of his images feature elderly people that reflect his own journey. But above all, Juancho’s photos capture the ephemeral nature of street life, emphasizing the beauty and mystery of a world in flux. “Venezuela is a melting pot of races, and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. I do not remember when I was young having seen so many older people on the street. Maybe they were invisible to me and now due to my own condition they present themselves to me at every moment in different activities, but I definitely believe that now there are more elderly people on the streets of Caracas, and it may be as a consequence of the social policy that has granted old-age pensions to a greater number of people, which makes them more independent.” IN CONVERSATION WITH JUANCHO DOMÍNGUEZ THE PICTORIAL LIST: Juancho please tell us about yourself. When did you start getting interested in photography? JUANCHO DOMÍNGUEZ: As I am retired, it occurred to me that to use my free time I could start taking photos, so the first thing I did was look for a compact (needless to say, I didn't know much about cameras) that I still use on some occasions. I started taking photos of objects, buildings, structures, etc., afraid of the human figure, and as I was feverish, I went out every day to photograph everything that caught my attention, and everything started to attract my attention. I was beginning to see again and see what I had not seen, what I usually saw. And so suddenly I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which it is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and of always wanting to carry a camera with me so that, in this way, I can testify afterwards what my eyes are discovering, with the charm of an inquisitive look that surprisingly wakes up. I am lucky to be friends with the photographers and teachers Susana Arwas and Edgar Moreno who invited me to the classes that they teach in their workshops on composition and photographic projects. There I went through a training process while I participated in the digital magazine that they edit: Magna, Histories of the Present. The work I do does not obey a specific photographic project because what is specific is the street itself, which is the best reflection of the pulsating reality of everyday life in a society that is undergoing a process of transformation. Venezuela is a melting pot of races, and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. I do not remember when I was young having seen so many older people on the street. Maybe they were invisible to me and now due to my own condition they present themselves to me at every moment in different activities, but I definitely believe that now there are more elderly people on the streets of Caracas, and it may be as a consequence of the social policy that has granted old-age pensions to a greater number of people, which makes them more independent. Now I am happier and with a new life project; filled with photos until I complete the last quarter of an hour I have left to live. The lights and shadows follow each other in moments and change in a few minutes and the action of the people is a matter of seconds, everything has to coincide with the moment, which is not only a decisive moment but also a decided one. I do not intend anything other than to give free rein to my restless and curious eye and show the result of that passion for photography. I am a man of few words, that's why I use photography. TPL: Street photography can be about waiting around for that right moment. What is that right moment for you? Is there anything particular you want to express through your photography? JD: In street photography, you don't always have to wait for the right moment, many times that moment comes as a surprise to you and you have to be reactive instantly, or you are left with the frustration of perhaps having lost the photo of the day and if so, it makes you feel bad every time you remember it. The moment is not only decisive but decided. What type of street photographer are you? I tend to be patient and discreet, going incognito among people, perhaps it is due to my shy nature, despite the fact that on many occasions people have said to me that I have taken a photo of them, with reactions ranging from kindness to violence. TPL: Do you have a favourite quote or saying that resonates with you the best? JD: A quote that I really like is this one by Julio Cortázar - "Among the many ways to combat nothingness, one of the best is to take photographs." I like it because I am a retiree who has nothing to do. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? JD: As I am fundamentally self-taught, my training has been informal and photographers have appeared on my way in a fortuitous way but I cannot forget when I met Fan Ho and the impression he made on me, by making me see photography as an artistic way to express your self and soul. Now I am happier and with a new life project: filled with photos until I have fulfilled the last quarter of an hour I have left to live. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? Do you do much post-processing? JD: The camera I use is very small, to go unnoticed and not attract attention. It is a Sony A5000 with a 16-50mm kit lens. I use Capture One with fairly basic processing, because I like to post natural photos, similar to what my eyes saw when I took them. TPL: Have you ever been involved in the artistic world before photography? JD: Yes, before photography I was making music for some time, mainly linked to theatre. TPL: Where is your favourite place to photograph? JD: In the centre of the city is where I move best because it seems to me that there is more contrast both between people and in situations that are worth photographing. I also look for places where light and architecture produce interesting shadow and chiaroscuro areas. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JD: I had several proposals, including a book for a university, but this pandemic led them to uncertain terrain. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? JD: What would fill me most with satisfaction is to see my photos in an exhibition, to show them to the public as a coherent whole that expresses not only the face and the heartbeat of the city but my own inner world. TPL: “If you weren't photographing what else do you think you would be doing? JD: Dying...” PORTFOLIO 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 self-taught street and documentary photographer, passionate about capturing the beauty and stories of everyday life. During the weekdays, I work for a leading global e-commerce and tech corporation, but my weekends are devoted to expressing my creativity through photography. The uncertainty and spontaneity of street and documentary photography are what draw me most to these genres. Over the years, documenting people has given me invaluable opportunities to explore the unknown and embrace the diverse realities of human life. I also curate the popular Instagram handle Streets of Calcutta, which showcases the vibrant culture and stories of my city. For me, photography is not just a passion or hobby, it has become an obsession. It has helped me grow personally, allowing me to view life from different perspectives. I believe that even the most mundane scenes can be turned into compelling stories through clean and thoughtful composition. The process of creating street photography is especially exciting for me. There is no control over people’s reactions or who enters or exits the frame, instead I must anticipate and capture fleeting moments as they unfold. This practice has taught me resilience, patience and attentiveness to the small details of life. It has also shaped my perspective, making me more tolerant, empathetic and kind in nature. My work has received recognition both nationally and internationally. My photos have been published in renowned forums, won multiple awards and have been exhibited globally. A special highlight of my journey was when legendary street photographer Joel Meyerowitz praised one of my works, saying, “It is the kind of picture I felt I could live with.” AYANAVA SIL I am a self-taught street and documentary photographer, passionate about capturing the beauty and stories of everyday life. During the weekdays, I work for a leading global e-commerce and tech corporation, but my weekends are devoted to expressing my creativity through photography. The uncertainty and spontaneity of street and documentary photography are what draw me most to these genres. Over the years, documenting people has given me invaluable opportunities to explore the unknown and embrace the diverse realities of human life. I also curate the popular Instagram handle Streets of Calcutta, which showcases the vibrant culture and stories of my city. For me, photography is not just a passion or hobby, it has become an obsession. It has helped me grow personally, allowing me to view life from different perspectives. I believe that even the most mundane scenes can be turned into compelling stories through clean and thoughtful composition. The process of creating street photography is especially exciting for me. There is no control over people’s reactions or who enters or exits the frame, instead I must anticipate and capture fleeting moments as they unfold. This practice has taught me resilience, patience and attentiveness to the small details of life. It has also shaped my perspective, making me more tolerant, empathetic and kind in nature. My work has received recognition both nationally and internationally. My photos have been published in renowned forums, won multiple awards and have been exhibited globally. A special highlight of my journey was when legendary street photographer Joel Meyerowitz praised one of my works, saying, “It is the kind of picture I felt I could live with.” LOCATION Kolkata INDIA CAMERA/S Nikon D5100, Fujifilm XT-200 and One Plus 12 @AYANAVA3 FEATURES // Streets of Kolkata

Some photographers are content to sit behind the camera and observe the world go by. Others use the camera as a stage to engage with the world, shouting out loud, sharing their vision. I tend to be the former. My home loan paying job requires me to step up and fully engage with the world. I use my photography as a way to regain my zen, drawing strength from the people I observe through the view finder. JASON PHANG Some photographers are content to sit behind the camera and observe the world go by. Others use the camera as a stage to engage with the world, shouting out loud, sharing their vision. I tend to be the former. My home loan paying job requires me to step up and fully engage with the world. I use my photography as a way to regain my zen, drawing strength from the people I observe through the view finder. LOCATION Auckland NEW ZEALAND CAMERA/S Fujifilm X-T30 WEBSITE https://goodintentions.nz/ @JASEINNZ FEATURES // Finding His Zen

RESONANCE OF HER REALISM Lana Eileen's images fuses abstract elements with fine details, combining seemingly disparate fragments to evoke a sense of magic realism. RESONANCE OF HER REALISM July 5, 2021 INTERVIEW PHOTOGRAPHY Lana Eileen INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The power of art lies in its ability to evoke emotion and transcend rational thought. Lana Eileen is an artist who embraces this mystery and uses her art to create an ethereal world of beauty and enchantment, drawing inspiration from her own experiences to create unique works of art. Currently a student of the School of Creative Arts and Media in Tasmania, Eileen has explored far and wide in search of creative inspiration, from artist residencies in remote Iceland and the island of Hrísy near the Arctic Circle, to New Zealand. Her works combine abstract elements with fine details to create a sense of surrealism, often employing self-portraiture as a means of expressing her inner thoughts and feelings. Through her photography, Eileen invites us to explore the intangible realm of our own minds, inspiring us to look beyond the obvious and discover something new about ourselves and our world. “There’s a physicality to self-portraiture that I love. It feels performative, almost like dancing, and there is a lot of movement involved. I love self-portraiture because it has an intimacy to it, and it is inherently personal.” IN CONVERSATION WITH LANA EILEEN THE PICTORIAL LIST: Lana please tell us about yourself. You are also a musician, tell us a bit about that. What was your journey into photography? LANA EILEEN: I was born in Australia, and I have just moved back here after having lived in New Zealand for a long time. I am now based in Tasmania, which is where I lived when I was very young. Working as a musician is what I have been doing for the majority of my life. When I started modelling for professional photographers on press shots for my music, I became interested in being a photographer myself. In the years since then, I’ve been continually experimenting, but it’s only recently that I’ve become very passionate about photography and started to take it seriously. TPL: Much of your work is self-portraiture. Is the process of photographing yourself different to that of photographing other people? Do you have a process of preparation? LE: It’s different in the sense that photographing other people allows for more technical control, whereas self-portraiture can sometimes be a gamble. But there’s a physicality to self-portraiture that I love. It feels performative, almost like dancing, and there is a lot of movement involved. I love self-portraiture because it has an intimacy to it, and it is inherently personal. TPL: Your photographs have a romantic aesthetic mixed with a tangible darkness that has a strong presence to nature. How would you describe your work and how do you choose your themes and communicate this to the viewer? LE: I am interested in moments that capture a sense of intimacy, focusing on gestures, movement, physical form. I love photographing hands, or faces partially obscured. Diane Arbus said a photograph is a secret about a secret — the more it tells you, the less you know — and that quote reflects how I feel about my work. I appreciate the connection between the human body and the natural landscape, investigating our place in the world and how we are inextricably tied to the earth, and I am always seeking to explore that concept. TPL: In 2019, you undertook an artist residency in remote Iceland. Tell us more about how this came about, what was it like, and what did you take away from this experience? LE: I had been wanting to complete a residency in Iceland for many years, as I was aware of several programs operating there, and in 2019 I finally applied and was accepted. I spent a month living in a tiny village in a remote corner of east Iceland, covered in snow, working at the studio each day. It was sometimes difficult, as the environment was quite raw and isolating, but I also loved it and found it to be life changing. There were artists from all over the world working there at the same time. I would love to return one day. TPL: Where has been your most favourite place to photograph? LE: I recently took a series of photographs in a lake in rural Australia just before sunset for my series ‘The Language of Water’, where I walked out into the water, and it was one of those special shoots when everything is just right in terms of lighting and atmosphere. That was definitely one of my favourite moments. I also love experimenting, taking self-portraits underwater or under glass. I appreciate the connection between the human body and the natural landscape, investigating our place in the world and how we are inextricably tied to the earth, and I am always seeking to explore that concept. TPL: Do you have any favourite artists or photographers you would like to share with us? LE: Julia Margaret Cameron, Diane Arbus, Francesca Woodman. Polish photographer Laura Makabresku is also a very big influence on my work. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? LE: As someone who is more creatively driven than technically minded, the equipment I use feels secondary to things like concept and atmosphere, but it’s also undeniable that the type of camera I shoot with has a big impact on the result. Currently I am using a Canon 600D, a Canon 5D MK III, and a Nikon F80. I am very excited by the possibilities associated with using film, and that’s my focus at the moment. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? LE: I want to keep exhibiting my work, publish a photo book, and learn as much as possible. I plan to move to Europe when I graduate, and exhibit and work over there. I can see photography gaining more prominence in my work as an artist in the years to come. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LE: I am busy creating work for an exhibition at Black Cat Gallery in Melbourne in early 2022 that expands on my series ‘The Language of Water’, as well as a smaller exhibition of my photography at Parlour Gallery in Hobart this September, and I am also directing a lot of my focus towards shooting on film. TPL: When I am not out photographing, I (like to)… LE: Write music for my upcoming album, sing, play the piano and other instruments, perform at shows, make handmade jewellery and herbal skincare, read, cook, try to write a novel, go on road trips, or simply enjoy being out in nature." 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 originally from Shanghai of China and love my city very much. When I was a child, my grandpa used to take photos of me by film camera. But now I am obsessed with taking photo of strangers. I love using photographs to record life by my favorite way and perspective, but do not pursue perfection deliberately. CINDY WANG I am originally from Shanghai of China and love my city very much. When I was a child, my grandpa used to take photos of me by film camera. But now I am obsessed with taking photo of strangers. I love using photographs to record life by my favorite way and perspective, but do not pursue perfection deliberately. LOCATION Shanghai CHINA CAMERA/S Fujifilm X-T30 @CINDYWAJ FEATURES // Strangers in Shanghai

BOOK TÜRKIYE June 28, 2026 BOOK PHOTOGRAPHY Rpnunyez TEXT Rpnunyez INTRODUCTION Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link When I first encountered the work of Rpnunyez in 2022, I knew instinctively that his vision was different. It was not only the strength of his photographs that moved me but also his words: “We can differentiate ourselves by race, color, language, wealth and politics, but consider what we have in common...we all bleed red.” In those last four words I understood the heart of his practice. His photography is never about categories or divisions. It has always been about the shared pulse of human life. Through our close dialogue over the years on The Pictorial List, my admiration for his work has deepened, as has my respect for the photographer he is. Rpnunyez is a photographer who approaches his subjects with honesty and integrity. What stays with me is not only the photographs themselves, but the values that make them possible. They encourage us to look closely, to think critically, and to recognise ourselves in the lives of others. He is guided by the conviction that a photograph should not extract or reduce, but allow another’s presence to be seen. In this way, his work reveals not only the face of a person, but something of their inner life, something of the country they inhabit. For me, these books Volume 1 and 2, are a gift. To read them, to reflect upon them, and to share in dialogue with Rpnunyez about their making has been an honor. They are works I will always carry with me, not only for what they reveal of Türkiye, but for what they reveal of the photographer who has given so much of himself to see it clearly. Usually, when a new project comes up, people often ask me how the idea for that new project came about. When they ask that question, I always sense that they are asking about the precise moment when the idea arose or what event triggered it. There is never a single, original idea behind my projects, except for the need to convey through them a simple but powerful sentence: “We may differentiate ourselves by race, colour, language, wealth and politics; but consider what we have in common: dreams, laughter, tears, pride, the comfort of a home and the desire to love. If I could photograph those universal truths...” This masterful reflection by Wayne Miller has always been with me, serving as my personal and professional compass. And, for better or worse, I have always held the deep conviction that I need nothing else. There is no original idea, but there is evolution, both personal and professional. The ABYSSINIAN DIARIES project took me to modern-day Ethiopia and to Kapuscinski’s book The Emperor; this masterful book led me to The Shah or the Excess of Power by the same author, and that led me to PERSIAN DIARIES; during the development of this long-term project, I discovered the poetry of Mevlana, and this led me directly to the mysticism of the whirling dervishes of Konya, where, while developing the project, I discovered contemporary Turkish society and the immeasurable figure of Mustafa Kemal Atatürk, whose legacy remains in the current republic. Suddenly everything fell into place and the current project took shape as a book. From a strictly professional point of view, I have always tried — whether rightly or wrongly — to keep a certain distance from trends or other photographers, with the clear aim of keeping my instinct intact. So, there are relatively few masters to whom I owe my way of living photography, but their influence is evident every time I pick up the camera or begin a new project. From Ansel Adams I learnt what I know about analogue photography, and his teachings guided me in my first darkroom. Wayne Miller inspires me with the professed humanist dimension of his work, the undeniable emotional power conveyed by his shots, and the impeccable tonal range of his greys. Marc Riboud never ceases to amaze me with the impeccable, austere and seemingly simple composition of his images. Leonard Freed inspires me with most of his work, whose photographs are masterfully composed. What inspires me most about Larry Towell is his handling of perspective and volume within each frame and, of course, the humanistic dimension of his work. To all of the above, I can only add one more thing: after tens of thousands of shots, I am guided purely by this idea: knowing where not to look and where not to point my lens. So simple, so complicated. TÜRKIYE: a secular republic under the shadow of the minaret (Vol I & II) is not only a portrait of a country but also a reflection on how societies live with complexity, negotiating between past and present, belief and secularism, continuity and change. In these pages, Türkiye appears both singular in its particulars and universal in its questions, reminding us that the truths of a nation are inseparable from the lives of its people. Visit Rpnunyez's website to buy his books. WEBSITE CLICK ON IMAGES TO ENLARGE 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.

PICTORIAL STORY FLOATING GARBAGE Emy Maike returned to the Philippines to confront a growing crisis: plastic pollution. Her work explores how this environmental threat has become embedded in everyday life, revealing its impact on both communities and the landscape they call home. August 26, 2022 PICTORIAL STORY photography EMY MAIKE story EMY MAIKE & MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Floating garbage. Where does it come from? For centuries, our planet has been polluted and marred by human activity. But in recent times, we have become more aware of the devastating effects that plastic pollution can have on our environment. And while it may seem like a distant problem, we are now seeing the effects of plastic pollution everywhere. From the Great Pacific Garbage Patch to our own backyards, plastic pollution is a serious issue that needs to be addressed. The Great Pacific Garbage Patch is a massive collection of marine debris in the North Pacific Ocean. Not only is it full of plastic waste, but it is also full of larger pieces of plastic that has been broken down into smaller pieces known as microplastics. This soup of microplastics has been a problem for some time and it's steadily increasing. It's estimated that our oceans are now 90% full of plastics. What's worse, plastic is non-biodegradable, meaning it does not degrade or decompose. This means that over time, more and more plastic waste accumulates in our oceans and landfills. The majority of this plastic waste can be traced back to land-based activities in North America and Asia, while ships navigating the oceans also dump large amounts of plastic into the water. The issue of plastic pollution is a global one and it's time for us to take action. If we don't make a change soon, the consequences for our environment could be dire. So, let's learn more about plastic pollution and its effects on our planet. In a world where more than 8 million metric tons of plastic are discarded into oceans every year, Indonesia is among the top contributors to plastic pollution. Scientists have predicted there will be more plastic than fish in the oceans by the year 2050. Proper management of plastic waste is lacking in coastal communities in Indonesia. Researchers from Indonesia and Australia found that waste management and infrastructure capacity in coastal communities in Indonesia did not effectively prevent plastic debris from entering the marine ecosystem. This plastic waste in the ocean negatively affects the marine ecosystem as sea creatures like whales, turtles and fish mistake floating plastic waste for food, swallowing material they can’t digest. The plastic accumulates in their bodies over their lifetime, killing them or working their way up the food chain and eventually circling back to humans. I travelled to the Philippines in 2019. For more than a year I sat at my computer and researched information and also bought books about the world's pollution and how the people manage their living life within it. It is a subject that seems to be overlooked. It actually wasn't my intention for me to deal with this information, but there was a change within myself, so I dared myself to do this documentary project. As I travelled around places such as Davao, Mindanao and Navotas City, Manila, there were many surprising moments. The pictures speak more than words and you can try to understand how they live. A few local women were watching me and were curious to what I was photographing. I spoke to them. Josie from Davao City, Mindanao, described what it was like living there. “I am living in this area for so many years that there is now a lot of garbage under the house. Back when my children were little, they fell down but they are still alive and grown up." At the other side of the beauty at the remote place just a few steps into eternity there is an abandoned place the Cemetery and this place is the garbage dump of humanity. Uncollected waste contributes more to plastic waste discharges than leakages from final disposal sites, and very little plastic is recycled. Rural areas generate the largest amounts of mismanaged plastic waste due to very limited waste collection rates. Limited collection services and access to disposal infrastructure hinders improvement in waste handling behaviors. Direct disposal in water is the main pathway of plastic waste reaching rivers then dispersing into the ocean, often resulting from populations not having access to waste collection services. The inhabitants have no other way to dispose of their garbage. For the people living in this kind of area, this is how they live their life and they are happy, just the way they are, unknowingly having an impact on the world. However, they might live the life in this kind of situation there are always smiling faces. You must reach out and you are going to smile too as they do! In regions where proper waste management systems are not in place, the most effective way to help bring plastic waste levels down is to encourage people to reduce, reuse and recycle. Governments must also take steps to ban single-use plastics and invest in waste management infrastructure in order to prevent plastic from entering the ocean. Fortunately, some of these steps are already being taken in Indonesia. For example, the island of Bali has banned all single-use plastics, while Jakarta has banned plastic bags in shopping centres and street markets. This is an important step forward, but more must be done to ensure that plastic waste is properly managed and does not end up in our oceans. In addition to government initiatives, individuals can also play an important role in reducing plastic waste. People can choose to purchase less single-use plastic items and opt for reusable items such as metal straws and water bottles. Another way to help reduce plastic waste in the environment is by properly disposing of discarded items instead of leaving them to end up in the ocean. By taking these steps, we can help reduce plastic pollution in our oceans and create a cleaner, healthier environment for not just us, but for future generations as well. Proper management of waste can have a positive effect on both the local and global environment, and it is up to us to make the changes necessary to ensure that our planet is able to thrive. © Emy Maike © Emy Maike © Emy Maike © Emy Maike © Emy Maike © Emy Maike © Emy Maike At the other side of the beauty at the remote place just a few steps into eternity there is an abandoned place the Cemetery and this place is the garbage dump of humanity. © Emy Maike © Emy Maike © Emy Maike Emy Maike’s photography is more than documentation — it is a deeply personal act of witnessing. Born and raised in Manila and now living between Germany and Switzerland, Emy brings a unique perspective to her work, shaped by both distance and deep connection. In capturing the realities of plastic pollution in the Philippines, Emy doesn’t just show the problem, she reveals the humanity within it. Her images honor the dignity of communities living among waste, not as victims, but as people navigating difficult circumstances with resilience and grace. Emy Maike's work is a call to attention, and a call to care — a visual testimony that challenges us all to do better. view Emy's portfolio Read an interview with Emy >>> Website >>> Instagram >>> Facebook >>> Twitter >>> Sources for story - National Geographic | Great Pacific Garbage Patch Washington Post | Indonesia Plastic Waste Museum World Bank 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. 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