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Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. STEPHEN LASZLO Stephen Laszlo has been specializing in street photographer imagery for over twenty-years. Although Stephen still shoots film he still uses traditional B&W and color techniques when shooting in digital. All B&W photos are shot in monochrome utilizing the zone system and digitally adjusted to represent, as closely as possible, the traditional darkroom technique. LOCATION San Francisco UNITED STATES CAMERA/S Leica M10 Monochrom and Leica Q2 Monochrom Reporter WEBSITE http://stephenlaszlo.com/ @STEPHEN_LASZLO_PHOTOGRAPHY FEATURES // On The Streets of San Francisco

I am an American photographer who has traveled internationally to see and photograph the ordinary and unique of life. I am a bit of an odd bird. I don’t see myself easily fitting into any one group. Many of my views consist of positions that one would tend to find in very different groups. I can have at the same time, feelings of inclusion and exclusion. I can feel both acceptance and as an Auslander. It is a bit of a cliché, though still true nonetheless, that the camera can be a passport. It can be a raison d’etre amongst people and peoples you wouldn’t ordinarily be amongst. I found/find myself both photographically and personally being energized and pursuing photography in what would be called (although I hate this term) “subgroups”. I did this for seven months in Kibbutz Bet Alfa in the Jezreel Valley at the base of Mt. Gilboa in Israel. And, then again, photographing for several years in a rural upstate New York bar that effectively serves as the town green in the hamlet of Andes, New York. And, as you can see in the accompanying photographs, in the Haredi community of Satmar Jews in Williamsburg, Brooklyn. MARK ZILBERMAN I am an American photographer who has traveled internationally to see and photograph the ordinary and unique of life. I am a bit of an odd bird. I don’t see myself easily fitting into any one group. Many of my views consist of positions that one would tend to find in very different groups. I can have at the same time, feelings of inclusion and exclusion. I can feel both acceptance and as an Auslander. It is a bit of a cliché, though still true nonetheless, that the camera can be a passport. It can be a raison d’etre amongst people and peoples you wouldn’t ordinarily be amongst. I found/find myself both photographically and personally being energized and pursuing photography in what would be called (although I hate this term) “subgroups”. I did this for seven months in Kibbutz Bet Alfa in the Jezreel Valley at the base of Mt. Gilboa in Israel. And, then again, photographing for several years in a rural upstate New York bar that effectively serves as the town green in the hamlet of Andes, New York. And, as you can see in the accompanying photographs, in the Haredi community of Satmar Jews in Williamsburg, Brooklyn. LOCATION New York UNITED STATES CAMERA/S Olympus OMD EM1 Mark 2 WEBSITE http://www.markzilbermanphotography.com @MARKZILBERMAN FEATURES // Hebrew Halloween

I am a Turkish street photographer. I started taking photographs in 2011 during my university years whilst I studied in the Cinema/TV department. In the beginning, I was shooting more architectural, landscape, portrait style photographs. Later I discovered street photography. The spirit of street photography drew me in. I saw that I express myself best by taking street photographs. I feel very lucky that I live in Istanbul, because Istanbul is one of the most beautiful cities in the world where street photos can be taken. EMIR SEVIM I am a Turkish street photographer. I started taking photographs in 2011 during my university years whilst I studied in the Cinema/TV department. In the beginning, I was shooting more architectural, landscape, portrait style photographs. Later I discovered street photography. The spirit of street photography drew me in. I saw that I express myself best by taking street photographs. I feel very lucky that I live in Istanbul, because Istanbul is one of the most beautiful cities in the world where street photos can be taken. LOCATION Istanbul TURKEY CAMERA/S Fujifilm X-T30 WEBSITE http://www.emirsevim.com @EMIRSEVIM @EMIR.SEVIM.96558 FEATURES // Finding The Magic Of Istanbul

My journey is a tale woven with a deep love for nature and a profound connection to the historical region of Bukovina in North Romania. After a decade immersed in the vibrant cultures of Germany and Austria, a transformative hike in Gura Humorului, my grandparents' town, took me back to the roots of my heritage. I made the decision to relocate and dedicate myself to discovering and promoting the hidden gems of the region. Armed with a tourism guide certification, I earned the authorization to serve as a local guide - an opportunity that allowed me to share the magic of Bukovina with others. ANA-MARIA ALB My journey is a tale woven with a deep love for nature and a profound connection to the historical region of Bukovina in North Romania. After a decade immersed in the vibrant cultures of Germany and Austria, a transformative hike in Gura Humorului, my grandparents' town, took me back to the roots of my heritage. I made the decision to relocate and dedicate myself to discovering and promoting the hidden gems of the region. Armed with a tourism guide certification, I earned the authorization to serve as a local guide - an opportunity that allowed me to share the magic of Bukovina with others. LOCATION Bukovina ROMANIA CAMERA/S Canon Powershot SX 540HS and SonyDSC-XV60V WEBSITE https://carpathianstories.picfair.com/ @_ANAMARIAALB_ @ANAMARIAALB FEATURES // A Tale of Nature and Heritage

I am a fiction writer and photographer from Calcutta and New York. My work has been featured in journals like the New York Review of Books and the New York Times Lens Blog and exhibited at places like the International Center of Photography, Art Basel Miami, and other venues around the world. In 2023, Fall Line Press published my first photo book, Photowali Didi, a project born from a five-year relationship with the residents of a nearby slum — a collaboration that deeply shaped my work and perspective. My first book of fiction, Not Quite A Disaster After All, is also out in the world. I currently teach part-time at International Center of Photography, and my first poetry collection is forthcoming in Fall 2025. Right now, I'm working on two projects close to my heart: Women and Bodies and Gender and Bodies in Art. BUKU SARKAR I am a fiction writer and photographer from Calcutta and New York. My work has been featured in journals like the New York Review of Books and the New York Times Lens Blog and exhibited at places like the International Center of Photography, Art Basel Miami, and other venues around the world. In 2023, Fall Line Press published my first photo book, Photowali Didi, a project born from a five-year relationship with the residents of a nearby slum — a collaboration that deeply shaped my work and perspective. My first book of fiction, Not Quite A Disaster After All, is also out in the world. I currently teach part-time at International Center of Photography, and my first poetry collection is forthcoming in Fall 2025. Right now, I'm working on two projects close to my heart: Women and Bodies and Gender and Bodies in Art. LOCATION Paris FRANCE CAMERA/S Leica m240 WEBSITE https://www.bukusarkar.com/ @BUKUAGAIN @bukusarkar FEATURES // The Ghost Self

PICTORIAL STORY HURTFUL TRADITION March 12, 2021 PICTORIAL STORY Photography by Jason Shipley Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Jason Shipley is a British documentary photographer from Kingston upon Hull. When Jason traveled to Kenya, he made an effort to get to know one of the most remote and rarely visited tribes, the Pokot. They live a very hard life, he told us, and he was truly impacted by what he learned about their way of life. One of the hardest things to deal with was the issue of female circumcision, which, although outlawed, is still being practiced. Some of the girls manage to escape this painful and dangerous tradition. In Jason's photos he tells the story of one such girl, and the people from her community. The Pokot people live in West Pokot County and Baringo County in Kenya and in the Pokot District of the eastern Karamoja region in Uganda. Jason Shipley visited this area, which is hardly visited by tourists, for a photo reportage. Road networks and infrastructure of the Pokot community are poor, so travel within the region and to the region is time-consuming. To visit you need the tribal elders' permission. For Jason the harshness of these people's living conditions, and the fate of many young girls was emotionally quite overwhelming. Although officially illegal in Kenya, many girls in this ethnic group are still subjected to female genital mutilation (FGM). Jason was able to visit and speak to several girls, some who had escaped this fate with the help of local Non-government Organisations (NGOs), and some who had not. FGM can lead to severe pain, bleeding and tetanus or sepsis and other infection and wound issues right after the procedure, and in the long run it can cause recurrent bladder and urinary tract infections, cysts, an increased risk of childbirth complications and newborn death. The women often experience pain during sexual intercourse. Gladys had her baby with problems because, as it turned out, she had already had FGM before. Gladys did receive an education at the school as well, but the school was not aware that she had had FGM. Eleven hours after giving birth Gladys sat her school exam in the maternity hospital, in pain. The rules state she had to wear her school uniform, and because of her pregnancy she was obviously bigger, and the clothing was too tight. In societies where FGM is practiced, it is usually justified by upholding tradition and by the threat of negative social consequences for girls if they are not circumcised, foremost not being able to find a husband. FGM is also considered an important rite of passage into adulthood. In the Pokot community, girls are cut when they are between 10 to 17 years old. The Pokot regularly disregard the legal prohibition of female circumcision. To be clear, this is a practice that is not only inflicted on girls by the Pokot, but also widespread, mainly in African countries. The UN estimates that more than 200 million girls and women in 30 countries in Africa, the Middle East and Asia have been circumcised. In the Pokot community early/child marriage or forced marriage of female girls with elderly men is also a common practice. It is customary for families to receive a bride price. According to Jason, the price for a bride who has had FGM was 25 cows, plus 2 cases of soda and bags of sugar. Girls who had not had FMG would earn the family only 15 cows. To put this into context, the average wage in Pokot per day is the equivalent of US$2. The poverty is extreme in the area. Most people live in huts or tin houses without any insulation from heat and cold and no running water or toilets. There are several international and local charitable or development organisations who are trying to educate Pokot communities about the harms of the FGM practice, and who offer an alternative through education opportunities for girls. Jason visited the British charity One Woman at a Time, which was started by Jean Anderson a retired midwife from Lancashire, that is helping as many girls from the Pokot region as they can to get schooling and to help the villages with poverty reduction. The organisation also has programmes to educate the fathers, brothers and sons about the hazards of FGM, trying to change mindsets. Another organisation, The Girl Generation’s End FGM Grassroots Fund, has also been trying to educate communities to give up FGM, introducing the idea of an alternative rite of passage celebration in combination with graphic explanatory videos and witness statements from circumcised women. This appears to be having an impact, and one can hope that such efforts will eventually spread across the entire community. Through One Woman at a Time organisation Jason met Salome, who has been able to find a better life. Salome was to marry an old man who already had three wives, and her parents planned on cutting her, but Salome overheard the conversation, and she ran away across the mountains. She was able to go to the boarding school in Ortum, where girls who find a sponsor can receive an education and escape FGM. Salome has since found her own partner and has a baby now. She ended up studying at Mount Kenya University. For her, getting an education was life changing. "She has her own life and choices now," says Jason. All the girls One Woman at a Time sponsors get to go to school for free, the only condition being that the parents do not circumcise them. Next to the school sponsored by One Woman at a Time is a clinic where the girls can give birth. That way, they can deliver their babies safely and also continue their education. Gladys had her baby with problems because, as it turned out, she had already had FGM before. She has just given birth to the baby. Gladys did receive an education at the school as well, because the school was not aware that she had had FGM. © Jason Shipley Eleven hours after giving birth Gladys sat her school exam in the maternity hospital, in pain. The rules state she had to wear her school uniform, and because of her pregnancy she was obviously bigger and the clothing was too tight. © Jason Shipley Pokot people in their traditional dress. © Jason Shipley A Pokot woman with her baby. © Jason Shipley Salome in her village © Jason Shipley Salome's parents and brothers © Jason Shipley Jean Anderson © Jason Shipley The school Jean Anderson's organisation sponsors. © Jason Shipley The school Jean Anderson's organisation sponsors. © Jason Shipley The school Jean Anderson's organisation sponsors. © Jason Shipley Next to the school sponsored by One Woman at a Time is a clinic where the girls can give birth. That way, they can deliver their babies safely and also continue their education. © Jason Shipley © Jason Shipley © Jason Shipley Salome with a friend at Mount Kenya University. © Jason Shipley Merci Lollimas © Jason Shipley There are other girls who are not as lucky. Despite legal prohibitions in Kenya, FGM is still very widely practiced, and the old cultural norms have a stronghold in the Pokot community. “It was traumatic and sad what I witnessed,” says Jason. “I’ve worked in Africa for over ten years in some of the world’s poorest countries, but I never expected the harsh lives of the Pokot people in Kenya, a country where Europeans enjoy their holidays.” view Jason's portfolio Read an interview with Jason >>> Read the story "COMRADES FOREVER" >>> Sources used in story - Das, Amal & Harun, Golam Dostogir. (2015). Female Genital Mutilation: From the Life Story of Girls in Remote Villages Pokot County, Kenya. Journal of Child and Adolescent Behaviour. One Woman at a Time Project Page Key facts about FGM from the WHO The Girl Generation website 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.

PICTORIAL STORY SKIN STORIES In his latest project, Tony Reddrop looks past the ink etched on skin to uncover the stories that lie beneath. For him, tattoos are just the surface — what truly matters is the life, history, and individuality each person carries within. August 23, 2023 PICTORIAL STORY photography TONY REDDROP story TONY REDDROP introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link We are incredibly fortunate to live in a world full of stories - fascinating tales of people, places and passions that create the ever-evolving fabric of our lives. And while some stories pass by in the blink of an eye, others remain with us for a lifetime. Meet Tony Reddrop, a photographer whose creative journey knows no boundaries. Raised in Melbourne, Australia, Tony has made New Zealand his home for the past 14 years. Passionate about photography, Tony is dedicated to exploring and capturing the stories of those around him. Tony has dedicated himself to exploring and capturing the people and places within his own environment - a small city called Palmerston North in New Zealand’s lower north island. He is an artist who is always on the lookout for meaningful projects - works that challenge us to look further into the story that lies behind the images. From creating powerful street portraits to documenting a small Greek Orthodox community for two years, Tony is always on the lookout for new and exciting projects limiting himself to using just one mirrorless camera with two prime lenses with settings at either f2.8 or f2.0, and only using available lighting. Tony’s journey into photography began later in life, and his eight-year break from the artform has allowed him to come back with a fresh perspective and a more developed eye. His slow process of taking time to observe and think before taking a photograph is something that works for him and gives his work an extra level of depth and meaning. Tony has been working on an ongoing series of portraits documenting the people and stories behind their tattoos. His project speaks to him on a deeply personal level as he strives to look beyond the ink, believing that by looking beyond the physical appearance of a person and into their unique story, we can gain a better understanding of who they are and why they have the tattoos they do. This series has allowed him to gain insight into a new community and form some incredible connections along the way. I have always been intrigued by tattoos as an art form, but my fascination has gone further than that - I'm curious about the stories behind the people who have them. What inspired them to get inked? Is there a particular tattoo that has a deeper meaning? To create a powerful visual, I envisioned a series of portraits that had the same aesthetic while each individual tattoo held its own strength. Furthermore, I wanted the portraits to tell the story of the journey that each individual took to be there, enhancing the strength of the overall series. I originally knew a few people with tattoos, but it was an art exhibition at a friend's gallery called The Swamp that exposed me to a vibrant tattooed community. Through word of mouth and the help of friends, I began to connect with people and photograph them. This series is about more than just presenting beautiful artwork on bodies; it’s about discovering the stories behind the people who are tattooed and understanding their individual journeys. I hope this series can help others to look beyond the artistry of tattoos and gain insight into the lives of those who choose to decorate their skin. This project is still going strong and it's on its own journey, much like the people I've already captured. 'James' - tattoo artist, strong man competitor, vegan, and non-drinker. © Tony Reddrop 'James 2' © Tony Reddrop 'Melsa' - Ko Melsa taku ingoa. "I am a non-binary trans parent, partner, and artist from Te Papaoiea. I have always felt like the body I was in was never really mine. Every time I get a tattoo, I feel like my body becomes more comfortable, and as though I am decorating the walls of my home. I've collected tattoos that are memorials, tributes, stories, or just stupid shit that I liked. I don't imagine myself ever really stopping getting tattooed." © Tony Reddrop 'Natalie' - “My favourite tattoo is a character I admire from a favourite novel of mine, Dune by Frank Herbert. It's of a Bene Gesserit warrior. The Bene Gesserit are ancient and adept organisation, an exclusive sisterhood whose members train their bodies and minds through years of physical and mental conditioning to obtain superhuman powers and abilities that seem magical to outsiders. Their leading mantra and meditation being "Fear is the mind killer". Why did I get tattooed? Because I find the concept of such a badass female organisation inspiring, and I feel empowered having those words on my skin.” © Tony Reddrop 'Katie Mac' - “My first tattoo was to cover scars. I was totally sucked in and began to get more. Getting tattooed became a sort of therapy for me. There was nothing more uplifting and rewarding than getting through a session and walking away with an awesome new lifelong decoration. That always felt, and still does feel, so real. To now be tattooing others and in the thick of my apprenticeship is completely surreal. It feels so giving and I'm so thankful I get to do that for people and send them off with their new decoration. To this day if I feel like shit a tattoo always sorts me right out.” © Tony Reddrop 'Georgie and Stevie' - “I started getting tattooed because I had friends doing it and I thought it looked cool. Now it’s a part of who I am, my family and our identity. I want Stevie to grow up with a mum who’s confident in her own skin and is unapologetically herself, that’s now where I see the beauty in the work, I have on me and why I’ll continue to get tattooed.” © Tony Reddrop 'Josh' - a friend to Gareth and Gorgie. © Tony Reddrop 'Jake' - “So in the beginning tattoos to me had to have 'meaning behind them' whether that be a name of a passed family member or pet etc. As I grew older so did my love for art and the collection of it. Once social media really took off it opened the door to browse at tattoo artists throughout New Zealand and the urge to collect their art in the form of tattoo has since become a minor addiction.” © Tony Reddrop 'Stef' - “Tattooing started as a way for me to hide parts of myself that I didn’t like. The desire to show off my tattoos has always outweighed the desire to hide them...I think it’s really cool how tattooing can do that for someone.” 'Gareth' - “I have been immersed in the tattoo culture in the Manawatu and beyond for the last 20 years. I've been lucky enough to meet inspirational artists over the world in which I've built strong connections with. With these artists we share beliefs behind the art form, and it's allowed me to treat Tattoos as a type of meditation - this is where I turn pain into power.” © Tony Reddrop 'Gareth 2' © Tony Reddrop 'Joanna Etina' - Joanna is the wife of Nick, both are tattoo artists. “I’ve always felt like an alien, like I don't belong around others. Tattooing gives me my individuality while allowing me to be part of a large community. It’s given me many friends and my tattoos are a collection of their work. I’m thankful for tattooing and being able to give that individuality to others every day.” © Tony Reddrop 'Joanna Etina 2' © Tony Reddrop 'Nick' - husband to Joanna. “I've been tattooing for 7 years and have been interested in tattoos for as long as I can remember, so naturally, I went and got my first one done right after I turned 18. This was in my hometown in Schwetzingen, Germany. I was always fascinated by the process of turning an idea into a sketch, into a line drawing, into a finished tattoo and I idolized those who could make it happen. So, I started drawing and focusing my efforts around 'traditional flash'. As one of my mates actually ended up getting tattooed a design that I had drawn, it hit me like a truck. I could do this myself. So, I bought a cheap machine set, tattooed my leg and my mates at home and applied for an apprenticeship in a couple of shops in my hometown. And was turned down. I decided to take a leap year and come to New Zealand for some work and travel instead. On Stewart Island, while preparing for a three-day hike around part of the island, I ran into three heavily tattooed people at the pub. We got talking, and it turns out they had just opened a tattoo shop in Invercargill. I showed them a few of my paintings and the next thing you know we were hanging out back in the shop a few days later and they offered me an apprenticeship. Over the next few months, I learned the basics and got to tattoo a few people. One of the girls I got to tattoo I asked out to come join us for drinks after getting a tattoo at the end of the day. This was in 2016. We’ve been happily married since 2019.” © Tony Reddrop 'Nick 2' © Tony Reddrop 'Cha' - An incredible strong woman, who is giving back to so many, from experiences she has gone through in life. © Tony Reddrop 'Woody' - “I’ve always felt quite insecure about my body, I was always the small kid, tattoos have gifted me not only increased body confidence, but I have also made many friendships with tattooers and fellow tattoo lovers.” © Tony Reddrop The work of Tony Reddrop is an incredible example of the power of visual storytelling - and by exploring the stories behind the tattoos of people from all walks of life, he has opened up a doorway into a community that many of us may never have seen for ourselves. His project is a reminder that there is always something to learn from those around us, and that if we look beneath the surface, we will uncover amazing stories that are worth sharing with the world. To see more of this project, check out Tony’s Flickr and Instagram page. view Tony's portfolio Read an interview with Tony >>> Flickr >>> 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.

THE MEMORY OF THE FEMALE BODY: The Archetype of Beauty Lorenzo Vitali's photographic language is expressive with a poetic vein, showing his aesthetic values and his deep respect for women. THE MEMORY OF THE FEMALE BODY: THE ARCHETYPE OF BEAUTY April 6, 2022 INTERVIEW PHOTOGRAPHY Lorenzo Vitali INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Throughout history, human culture has found ways to capture beauty through art, whether it is in paintings, sculptures or photographs. For centuries, artists have been inspired by the female body as a source of beauty, with the understanding that beauty itself is ever-evolving and subjective. Lorenzo Vitali has continued this tradition, but with a modern twist. Lorenzo is an Italian photographer and visual artist based in Genoa. He has developed his own aesthetic sense by merging traditional elements with innovative approaches to create unique works of art. He pays special attention to shapes and materiality, and frames his works within a conceptual discourse with a strong focus on formal research. One of his latest projects, "The Memory of the Female Body: The Archetype of Beauty", seeks to crystallise female beauty through a series of photographs that hint at the archetype of beauty, much like the frescoes slowly fading away on the walls of ancient residences. In this project, Lorenzo explores beauty and emotionality through melancholic images that capture fleeting moments of beauty before they vanish, as if in a dream. Through his photography, Lorenzo seeks to remind us of the beauty that is all around us, often hidden in plain sight, and to give us pause to contemplate the ever-changing nature of beauty. In short, Lorenzo Vitali presents us with a creative and experimental approach to capturing beauty that is both thought-provoking and visually captivating. “I would like my works to show not only my aesthetic values but also my deep respect for other human beings and in particular for women. What I try to suggest, furthermore, is a different and personal perspective in interpreting the reality that surrounds us. The result is a photographic language that I would define expressive, accompanied by a poetic vein.” IN CONVERSATION WITH LORENZO VITALI THE PICTORIAL LIST: Lorenzo please tell us about yourself. LORENZO VITALI: I was born in Milan and I’ve been living in this large and very stimulating city all my life. I started photographing since I was 8 years old when I was given a Kodak Instamatic with which I took thousands of slides. However, my life was in medicine for many years, working in hospital as a doctor first and then as a director, but I have never neglected photography. However, in recent years, photography has become my main activity. TPL: What draws you to photography and art? How did your journey into photography begin? LV: Since I was a boy, the whole world of visual arts had a great fascination for me: visiting art galleries, Italy is so rich of, allowed me to get to know the work of the great painters and outlined my ideas about aesthetics. Photographic books and exhibitions have brought me into contact with photographers who had made the history of photography. The aesthetic research of shapes sculpted by light has always attracted my gaze in an irresistible way. As a boy I analyzed reality through the viewfinder of my first Reflex (an Asahi Pentax Spotmatic) and this proved to be the trigger which set off most of my ideas. Observing the image projected by my Durst enlarger on the work surface, then seeing it disappear and reappear in the development bath was an intense and unforgettable emotion. My first experiences were in the field of photo reportage and fashion, but I would say that in the course of my life I have explored almost all photographic genres because I am curious. I think this helped me hone my technique. TPL: In your project THE MEMORY OF THE FEMALE BODY: THE ARCHETYPE OF BEAUTY you describe it as "a memory of beauty, which appears and then vanishes like a fresco" blurring the female body as if it is now a part of history. How and when did this project first manifest for you? What is the full story behind the project? What was the inspiration? LV: For some time now the theme of beauty, and female beauty in particular, has been one of the main research fields of my business. However, I have never taken glamorous photographs and, if anything, the study of form was the very center of my interest. In this work, however, I wanted to go further and express more what remained fixed in my mind rather than what I could observe with my eyes at the moment of the shot. The reference to the shadows of Hiroshima or the casts of Pompeii came naturally. The aim was to give a materiality to my memory. So we can say that the inspiration came from my lived life and from my memories which are therefore sometimes sharper and sometimes more nuanced. Overall, I think I have a poetic vision of this theme. TPL: What are any lasting impressions you would like to leave the viewer? What is their 'takeaway'? LV: I think that the viewer in front of a single work can grasp some aspects that I wanted to highlight. The concept of beauty, as an example. If an observer has a different sensitivity, he will have his own personal perception, in the end. And that might be very different from my original one. However, I would like my works to show not only my aesthetic values but also my deep respect for other human beings and in particular for women. What I try to suggest, furthermore, is a different and personal perspective in interpreting the reality that surrounds us. The result is a photographic language that I would define expressive, accompanied by a poetic vein. TPL: Do you have any favourite artists and photographers? If you could just choose one photographer to photograph alongside for a day...who would you choose? And why? LV: Apart from the great authors who made the history of photography, among the contemporaries I greatly admire the work of Gregory Crewdson and his way of interpreting staged photography. Gregory Crewdson would be my choice: I really love his ability to recreate perfect sets that seem at first glance shot like a reportage and are instead the result of the work of many people who spend a lot of time setting up the scenes and shooting. However, I would only photograph with him as long as he paid the expenses. Unfortunately, I know this kind of photography requires a very high budget I couldn’t afford at the moment. There is no causal link between what I write “with light” and what I write “with a pen”. They arise from a single idea that is inside of me. So I can't separate the two because it's just one thing. TPL: What do you think is your next chapter in your exploration with future projects. LV: I have several projects in the process of being set up. As usual, I start by researching the subject and this always takes a long time. So I still don't know which of my projects is closer to the final realization, even if a project that talks about architecture and metaphysics is now in a fairly advanced stage. TPL: Is there a special photographic moment you recall that will always remain with you...one maybe that changed your view of the world in which you photograph in? LV: I think that after having explored various photographic genres, at some point you feel the need to stop and think for a while and then follow a fairly precise path. This happened to me a few years ago and for a year I stopped taking pictures. I resumed when I realized that I had to look at the visual arts as a whole and not at photography and that's it. This broadened my vision of the world to explore. It became clear to me that the important thing was not so much the medium I used to express myself, but only what I had to say mattered. Let's say that therefore I always look at reality with an attitude more aimed at having an outcome in which the technique I use from time to time must never be the first thing that strikes the observer, but only the support that allows me to establish a connection with the viewer. TPL: Is there any advice that you would give yourself if you started photography all over again? LV: Perhaps the only advice I would give myself is to photograph less and think more, but I guess I wouldn't follow that. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? How much post-processing do you do? LV: Good equipment is essential to maintain high quality standards. However, we must never forget that it is only a means to an end. In the past I have used all kinds of equipment, from rangefinder cameras to classic film Reflex. From 2007 I switched to using digital cameras, always DSLR (Canon in general) with various lenses. Recently I have also very much appreciated mirrorless cameras and in most cases I am using a Canon EOS R5 with both my old EF and new RF lenses. I prefer preferably bright focal lengths in relation to the type of images I have to make. Perhaps I prefer the short and standard focal lengths. Post-production is an integral part of photographic work and must be used in coherence with the type of photography we are making: therefore the processing in documentary works is minimal while it becomes more important when it comes to conceptual interpretive photography. I personally post-produce my photos. TPL: When I am not out photographing, I (like to)… LV: I like doing lots of things: eating great food and drinking good wine, meeting interesting people and rambling around. But I often end up thinking about what I could photograph. 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.

FARAH'S CHARIOT Carla Henoud is a journalist and a photographer who captures sweet sceneries set on Beirut's famous Corniche that show her love for this place. FARAH'S CHARIOT March 25, 2021 INTERVIEW PHOTOGRAPHY Carla Henoud INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Life itself can be beautiful but for those that get a chance to experience the beauty that is Beirut's Corniche, there is something magical about it. Carla Henoud has been fortunate enough to capture this magic in her photography and has dedicated her last three years to documenting this stunning place with her lens. The result of these efforts have been exhibited in a gallery and published in a book, 'Le Chariot de Farah' in 2018, and it has been a testament to the beauty that Carla has seen in the Corniche. Her photos capture the picture-perfect scenes of the Corniche, full of life, with its picture-perfect blue skies and its people. No matter who is viewing Carla's work, the emotion that she has captured in her photographs is undeniable. “As a reporter, I had the opportunity to interview a man called Ali who used to work on the Corniche and sell orange juices on a wooden cart, as his father and grandfather used to do. But the authorities forced him to stop and destroyed it. As I was taking pictures of this and Corniche for about 3 years and had important material and archives I could use, I decided to write my own story inspired by Ali's. Most pieces of the story and the characters are taken from my own family, and I replaced Ali with Farah, a young woman working in a man's 'field'. 'Le Chariot de Farah' starts in the 60's and ends in 2018. It describes perfectly what Beirut was and still is. Or maybe what we are fighting for, keeping it a mixed city where people from different backgrounds and religions can live together peacefully.” IN CONVERSATION WITH CARLA HENOUD THE PICTORIAL LIST: Carla please tell us about yourself. How did you become interested in photography? CARLA HENOUD: I was born in Beirut, Lebanon. Lived for ten years in Paris, France, during our 'civil' war, and came back home late 90’s. I started taking pictures at 16 years old, with my Canon AE1. Then I studied advertising at the Lebanese Academy of Art (ALBA) and developed this passion since then. As a journalist, photography became also part of my work, as it tells story as well as my words do. TPL: What is it that you enjoy about documentary photography? Explain your technique? What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? CH: I find it challenging to go to the same place and discover new things about it. That same place is like my theater; it is the same background with different characters, variant lights, various stories, etc. The corniche by the sea, in Beirut, is my place of choice; it probably is the only spot in Lebanon that reunites people from different social classes and religions, in perfect tolerance and harmony. This is how Lebanon should be! Apart from its symbolic aspect, the corniche is also the scenery I always like to capture at all hours and in different seasons. It includes everything I choose to have in a picture: the sea, the sky, the human element and the street. It is urban and nature photography in one. Therefore, my personal challenge is to ‘cast’ the right human element at the right time in this existent scenery. I have been doing this for five years now before issuing the Book “Le Chariot de Farah” in October 2018. As for the technical part, I always carry light cameras to move easily. I also use wide angles and/or 50mm. No zoom lenses! I prefer getting closer to my subject, establish a quick contact, build trust that might lead to a conversation. No photoshop ever! I remain as close and intimate as possible to what I see. The angle I choose to snap the picture will make the difference. Being a journalist and a photographer, my purpose is to tell stories through my lens and share (new) emotions. TPL: What is it like photographing on the streets of Beirut? How has the pandemic affected you personally and your photography? CH: I enjoy going to the same place over and over again (the Corniche) and I always find inspiration. Always able to find and show something new, to discover new people, to meet others that I discovered during all these years and listen to their stories. And share all that. The sky, the sea, a person, are very important in my pictures. And most of all emotions. Beirut is a living city, so many beautiful and sad things are happening there since 2019. It’s a beautiful destroyed city one can only be passionate about. I love its old buildings, windows, people, sea. I love to find and show beauty in ugliness. It gives hope… During the pandemic, and different lockdowns (currently in a lockdown at time of interview) streets become empty and the sky, the shadows, the colours are so pure. I just miss people… TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CH: Henri Cartier-Bresson, "un classique” who was able to take great pictures with his 50 mm lens and no photoshop (which I never use). I like also Bruce Gilden, Robert Frank, Vivian Maier, Joseph Koudelka, Martin Parr, Seydou Keïta (even if his pictures are mostly in a studio). TPL: When you go out photographing, 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? CH: When I go out, all my senses are wide open (like a cat!) and just waiting and hoping for the encounter. In the back of my mind, I am always looking for places, people, a mood and a story. “Keep walking” is a motto I often bring back to help me cope with what we Lebanese are going through for so long and especially these last two years. 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? CH: I use a Leica D-Lux, a Fujifilm W-T1 and a Sony. Some are good because, also, they are light and easy to handle. Some are too complicated for street photography where you don’t have time to adjust. I prefer wide angles or a 50mm lens. TPL: Have you ever been involved in the creative world before photography? CH: At school, in Paris, I made a short movie with friends (Super 8). A friend, Stephane Drouot, was playing the role of 'director'. He became famous a few years later and got a Cesar for a short movie he wrote and directed late 80’s. He unfortunately passed away… TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? CH: My goals are to sharpen my eye and emotions even more, to always improve myself and always be surprised by what I do and what I see. I need, now more than ever, to always seek for beauty during these hard times the world and we Lebanese are going through. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CH: After my first book 'Le Chariot de Farah', a fiction with pictures of the Corniche, issued on October 2018 with an exhibition in Beirut, I am planning to do something more with it, as a series or a movie (with of course the help of professionals in this industry). And then start another personal project where I can mix writing and photography. Let’s hope we will have better days in Lebanon to be able to do so… TPL: When I am not out photographing, I (like to)… CH: Write. Travel. 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.

My way of seeing the world is strongly influenced by my passion for literature, poetry and music. As a kid growing up, I immersed myself in fairy tales, novels, song lyrics and every other piece of writing I could get a hold of. I have been expressing my thoughts in written form ever since. Over time, my visual language became more and more dominant though and I still enjoy the process of learning, experimenting and improving my photographic skills every day. ISABELLE COORDES My way of seeing the world is strongly influenced by my passion for literature, poetry and music. As a kid growing up, I immersed myself in fairy tales, novels, song lyrics and every other piece of writing I could get a hold of. I have been expressing my thoughts in written form ever since. Over time, my visual language became more and more dominant though and I still enjoy the process of learning, experimenting and improving my photographic skills every day. LOCATION Münster GERMANY CAMERA/S Lumix GX 80, Ricoh GR IIIx WEBSITE https://www.isabellecoordes.com/ @ISABELLECOORDES @ISABELLE-COORDES

IN THE MOOD FOR BEAUTY Georg Reiter is always in search of symmetrical shapes, both in architecture and in landscape, and in all of it, the mood of the scene. IN THE MOOD FOR BEAUTY July 28, 2020 INTERVIEW PHOTOGRAPHY Georg Reiter INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Born in Salzburg, Austria, photographer Georg Reiter now lives in Vienna. His preferred genres are architecture and landscape photography, but he also does some lovely still life photography. He is always in search of symmetrical shapes, both in architecture and in landscape, and in all of it the mood of a scene is important to him. Even when photographing street scenes, his photographs have a highly aesthetic and yet natural feel. He works with contrast and light to bring out special features or moods. Nowadays he likes to explore a setting without a camera before returning to it to take the picture he has envisioned in his mind. “I am strolling around and always looking for moody scenes. I am not interested in capturing just a landscape, cityscape or architecture...I want to capture the mood surrounding that landscape or architecture.” IN CONVERSATION WITH GEORG REITER THE PICTORIAL LIST: Georg, can you tell us when you started getting interested in photography? GEORG REITER: It was in school, when I was 14 years old. We could decide between stenography and photography. I chose photography, as that was what I really wanted to do. TPL: Has your style of photographing changed since you first started? GR: Yes, my style, and my kind of post-processing, all have changed since I started. In my early years of photographing, with my first analog camera, I used a lot of filters, especially red and yellow to make the photos more dramatic, with hard contrasts. And I just went out and took pictures. Now I go out first without a camera to look for a motive, and come back well prepared to take a photo according to my idea. TPL: Where is your favourite place to photograph? GR: I really like the "Weinviertel"*, especially in the winter, when there is little snow. There are small hills, some tree rows for wind protection, and very small villages with old houses. *a wine growing region in lower Austria TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GR: Michael Kenna from Great Britain. His long term exposures, his special style has influenced me the most. And there is one painter I really like, Lucian Freud. When I do portrait photography, it is his kind of style of portraits that influence me. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone else just starting out? GR: Technical equipment is not so important to me, but I already love my wide angle lens. The most important feature for me is that the camera can be used in manual mode, so that I can determine how the photo will look. Now I go out first without a camera to look for a motive, and come back well prepared to take a photo according to my idea. TPL: What have been the positives and negatives of Instagram regarding your photography? GR: Instagram is important for me, because I see photos from very creative people. Some of these photos have influenced my style in the last years. The negative side of social media, not only Instagram, is the time you spend on it. TPL: Have you ever been involved in the artistic world before photography? GR: Yes, the parents of some of my friends who grew up with me were writers, and some of these friends went to art school. I graduated from Oskar Kokoschka´s "Schule des Sehens" (School of Seeing). TPL: Are there any special projects you are currently working on? GR: Yes, I am currently working on a project about the "Flaktürme von Wien"(flak towers of Vienna). TPL: If I wasn't photographing what would I be doing?... GR: I really don't know, I never thought about it. I have always been taking photos. PORTFOLIO BEHANCE 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.

In my street photography, I like to tell a story through a scene capturing a moment in time. JUNI PERNIA In my street photography, I like to tell a story through a scene capturing a moment in time. LOCATION Manila PHILIPPINES CAMERA/S FujiFilm XT-100 @JUNIPERNIA