PICTORIAL STORY HOUSE OF MIRRORS Two strangers become collaborators, revealing a culture defined by openness, warmth, and connection. This series captures more than scenes — it celebrates the shared humanity that emerges when curiosity meets kindness. May 6, 2022 PICTORIAL STORY photography SHARON EILON model OHAD HURI story GAL EILON SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In her project House of Mirrors , photographer Sharon Eilon aims to investigate the human experience in her home country of Israel. A mindful observation through the main character's eyes reflects the Israeli society as it is perceived from external and internal points of view simultaneously. Through a lens of playful self-parody, Sharon has tried to showcase different facets of this society, shining a spotlight on its charming characteristics – the warmth, openness, eccentricity, and the tribal spirit it encompasses. “ My intention was to hold up a mirror to my home, the country I live in. I wanted to take a look at my familiar environment from a different point of view, and thus, this project was born.” In this project, Sharon chose to use the visual language of street photography, which is the genre of photography she loves most and in which she is well-versed. Using this visual language provided Sharon with comfort and familiarity, a sort of safety net as she embarked on her journey catching this outside perspective, “I came in with a familiar skillset to catch an unfamiliar perspective on my own home,” she explains. This series includes both candid photographs and ones that were taken with the cooperation of strangers Sharon and her collaborative partner met on the streets just a few minutes earlier. “Of course, I can't talk about this project without mentioning the wonderful Ohad Huri, the model I collaborated with to bring this vision to life.” Sharon had a great connection with Ohad, both sharing a similar view on this project, which made it easy to work with each other. “What surprised us both was how easy it was to work in public,” she discusses. “We both expected a hesitance or even a hostile approach from other people in the frame, but most times that wasn’t the case. Wondrously enough, curious bystanders had asked us what we were doing, asked to get their pictures taken with Ohad, and joined in on the project, so we got a great deal of cooperation.” With expectation, there were some raised eyebrows, but most people were simply curious and happy to help, and a few times people even got into Sharon's frame out of their own volition. This general readiness to help, to join in, represents exactly what Sharon was hoping to convey in the photos – the spirit of the Israeli people. “People aren't shy to offer a helping hand or ask what we're doing, and even though we're strangers, somehow, it's always enveloped in a sense of warmness and familiarity. We have no qualms about reaching out, about connecting, and for me, this is a special trait of our society, one that should be celebrated.” To examine this, Sharon placed Ohad in a variety of typical locations that represent life in Israel for her, this warm country home to warm people. She took photos at the sunny beach, the marketplace, at the park, running into the familiar sight of people making use of the good weather and barbequing. These locations were an entryway to meeting the Israeli people in them. Sharon remembers, “We ran into a father who coaxed his young daughter to take a picture with Ohad, into a folk dancing class; we met a man who came to the same beach every day for twenty years and fed the egrets, so now they recognize him and come to sit on his arm. We came across a couple in love at the beach, a family picnicking in the park that invited us to join them, young men working out, a religious man helping men lay phylacteries. We encountered the loud joyful sellers in the market, as well as one butcher who, even though doesn't usually agree to have his photo taken, agreed to participate and even added his own humoristic take on the photo.” © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon © Sharon Eilon All of these people, places, and experiences reflect, for Sharon, integral parts of Israel and the society that inhabits it and gives it life. And in the middle of that, Sharon inserts the character of an outsider, helping the viewer along in seeing these familiar sights through a different lens, and providing silent commentary on the special quirks of the Israel society. A selection of images from this project were presented in a gallery in Israel, and to Sharon's surprise, a few of her colleagues and the viewers had asked her if she had used photoshop to insert Ohad in the photos. Of course, Sharon had not, which is what she told them, explaining, “I don't even know how to use photoshop. It made me think for a while until one of my colleagues explained it in a way I liked; if people think Ohad isn't really a part of these photos, to the point where the jarring contrast made them think the photos were manipulated, that means I had done things right. And this achieved the perspective I was aiming for.” view Sharon's portfolio Read an interview with Sharon >>> Read "IN THE SPIRIT OF HISTORY" by Sharon >>> Website >>> Instagram >>> Sources in this story - Model - Ohad Huri The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

STREET BEATS You will most likely find Mark Davidson hunting the light and shadows in the laneways of his home city of Melbourne to get that elusive shot. STREET BEATS May 27, 2020 INTERVIEW PHOTOGRAPHY Mark Davidson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Mark Davidson has discovered the power of capturing the beauty of life through the lens of a camera. After a work trip to the Philippines sparked his interest in photography, the Melbourne-based radio producer and photographer has become a master of street photography, creating scenes full of emotion and contrast. His journey began with a Sony Cybershot and trips to Southeast Asia, and his self-taught skills have taken him around the world. Join us as we explore Mark’s story and gain an insight into his passion for photography. “I first came to photography through travel. The first camera I bought for myself was a Sony Cybershot and I loved taking pictures with my mates on trips through South East Asia. And I think I got some okay results, even in those early days. But while I was focusing on my radio producing career in my twenties, photography remained a hobby, it was always relegated to something I did on holiday. I decided to take photography more seriously around a year and a half ago, following a work trip to the Philippines. I travelled to Cebu in the Philippines with a group of journalists to cover the launch of an airline and roomed with a photographer from Melbourne. He’s an amazing photographer and we spoke a lot about the craft on that trip, and spent some time shooting in Manila. His enthusiasm inspired me to take it more seriously when I got home. While I’m largely self-trained, I did do a 10-week course at a community college in London while I was living there. Other than that I’ve just been figuring it out for myself. Wish I hadn’t have left it so late to be honest.” IN CONVERSATION WITH MARK DAVIDSON THE PICTORIAL LIST: Mark, where do you find your inspiration to photograph? MARK DAVIDSON: I find inspiration on the streets of Melbourne, hunting the light and shadows in the laneways. I also read a lot of articles by foreign correspondents and have a list of places I want to travel to with my camera. TPL: Where is your favourite place(s) to photograph? MD: I shoot mainly in Melbourne’s CBD. North Melbourne train station has been a particularly fruitful location for me. But I keep returning to the lanes and alleys of Melbourne. TPL: Do you have any favourite artists or photographers you would like to share with us? MD: I love the work of Trent Parke, Alexey Titarenko, Fan Ho, Josef Koudelka and Robert Frank. No surprises there...they’re all masters of photography. I’m also a big fan of modern photographers like Antonio Ojeda and Dimpy Bhalotia. But closer to home, there is a great community of Melbourne street photographers that I follow with keen interest. I am constantly amazed by the top-shelf, innovative work they produce. ! TPL: Has your style of photographing changed since you first started? MD: Yes, absolutely. I’ve only been shooting street photography seriously for around a year but in that time I have moved away slightly from the long-exposure, black-and-white street stuff I was doing to focus more on high-contrast, deep shadow scenes and mixing it up with colour and black and white. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? MD: No, not at all. Ansel Adams and Henri Cartier-Bresson had far less capable cameras than the ones we use today. People get way too hung up on gear. Find out what style of photography interests you and get the equipment that best suits that purpose. Obviously your choice of lens will differ if you’re a landscape photographer as opposed to a wedding photographer. But don’t stress too much about your camera. You can still produce some incredible work with a camera that doesn’t have the latest and greatest specs. Criticism is something we can avoid easily by saying nothing, doing nothing, and being nothing. - Aristotle TPL: What characteristics do you think you need to become a 'good' photographer? What's your tips or advice for someone in your genre? MD: Patience. 100 percent. There are few locations around Melbourne of note where the light hits the wall at a certain time of day and creates these incredible colours and shapes. I’ve returned to these spots around ten times in the past few weeks but still haven’t got the shot I’m after. I’ve also camped out in other locations for an hour or more to get a frame. That’s my style - a lot of other photographers don’t like to work that way and won’t agree. But I’m completely happy working solo; even if I don’t come away with a great shot I’ll just wander the streets for hours looking for the light. Patience pays you dividends in the long run. TPL: Have you ever been involved in the arts before photography? MD: Not really. Unless you count playing in a band. We put out a couple of EPs and gained a bit of traction in our hometown. We were pretty shit to be honest. I’m hopeless at drawing and painting. ! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MD: No, not at the moment. I would love to find a project that combines my love of travel to far-flung locations and photography. But that’s not possible right at this moment. TPL: "If I wasn't photographing what would I be doing?... MD: Working as a radio producer and journalist, which is what I’m currently doing! I work on a breakfast radio program, which gives me the freedom to photograph in the afternoon and evening." Mark Davidson's journey serves as an inspiring example of the power of pursuing one's passions. He has honed his craft through a combination of self-taught skills, dedication and an affinity for street photography. His work has taken him all over the world, creating stunning images that capture the beauty of life and convey emotion. To follow Mark's journey, his creative process and the various places he has visited, follow him on his street photography journey. VIEW MARK'S PORTFOLIO Mark's website >>> Instagram >>> read more interviews >>> !

As I am a retired worker, it occurred to me to make use of my free time I could start taking photos. 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 that everything started to attract my attention. I was beginning to see again. I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which she is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and 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. The type of photos that outline my propensity is determined by long years embedded in the social sciences, so it is almost a colophon that I am immersed in street photography with the nuance of black and white because it seems to me that it confers greater drama and contrast, although I also incorporate color when I think the image warrants it. 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. Now I am happier and with a new life project filled with photos until I have full the last quarter of an hour I have left to live. I am a inveterate poacher of the street image, that fascinates me and causes me a kind of addiction for the volatile and unrepeatable scenes, is to be able to capture this ephemeral reality. 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. JUANCHO DOMÍNGUEZ As I am a retired worker, it occurred to me to make use of my free time I could start taking photos. 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 that everything started to attract my attention. I was beginning to see again. I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which she is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and 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. The type of photos that outline my propensity is determined by long years embedded in the social sciences, so it is almost a colophon that I am immersed in street photography with the nuance of black and white because it seems to me that it confers greater drama and contrast, although I also incorporate color when I think the image warrants it. 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. Now I am happier and with a new life project filled with photos until I have full the last quarter of an hour I have left to live. I am a inveterate poacher of the street image, that fascinates me and causes me a kind of addiction for the volatile and unrepeatable scenes, is to be able to capture this ephemeral reality. 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. LOCATION Caracas VENEZUELA CAMERA/S Sony A5000 @JUANCHODOMINGUEZ12 FEATURES // Ephemeral Reality

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 >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

I was born in Québec and identify as French Canadian. I resided there until I began studying in the United States. My French background, language, and culture have always been significant to me. As a child, I learned about the importance of preserving culture as a French minority in English-speaking Canada. This may have sparked my interest in cultures. I have always been intrigued by the diversity, challenges, and resilience of the world, particularly among women. I have traveled to over 100 countries and made multiple visits to many of them. I hold a Ph.D. in Management from Cornell University in the US. I then taught global marketing at the MIT School of Management and the University of Chicago Business School. However, I found that this academic path did not fulfill me as much as some of my colleagues, who fully embraced it. I took a break to explore other pursuits and began traveling to remote regions such as Ethiopia, Tibet, and Myanmar. That is when my life changed; I discovered my passion. My interest in photography is closely intertwined with my love for storytelling. After returning from a trip, I have countless tales to share, and images are the perfect medium. I enrolled in classes at a small photography school in Chicago and have attended various workshops, but I also devote a significant amount of time to self-improvement. My goal is to document what I witness and share it with the world. When I come home from a trip, I craft stories around my images and publish them on my website, where I have over 100 posts. My hope is that by increasing people's knowledge of other cultures and ways of life, they will feel less threatened by them and may even find inspiration, just as I often do. I realize this may be a naive perspective, but I feel privileged every time I learn something new and hope others feel the same way at least some of the time. FRANCE LECLERC I was born in Québec and identify as French Canadian. I resided there until I began studying in the United States. My French background, language, and culture have always been significant to me. As a child, I learned about the importance of preserving culture as a French minority in English-speaking Canada. This may have sparked my interest in cultures. I have always been intrigued by the diversity, challenges, and resilience of the world, particularly among women. I have traveled to over 100 countries and made multiple visits to many of them. I hold a Ph.D. in Management from Cornell University in the US. I then taught global marketing at the MIT School of Management and the University of Chicago Business School. However, I found that this academic path did not fulfill me as much as some of my colleagues, who fully embraced it. I took a break to explore other pursuits and began traveling to remote regions such as Ethiopia, Tibet, and Myanmar. That is when my life changed; I discovered my passion. My interest in photography is closely intertwined with my love for storytelling. After returning from a trip, I have countless tales to share, and images are the perfect medium. I enrolled in classes at a small photography school in Chicago and have attended various workshops, but I also devote a significant amount of time to self-improvement. My goal is to document what I witness and share it with the world. When I come home from a trip, I craft stories around my images and publish them on my website, where I have over 100 posts. My hope is that by increasing people's knowledge of other cultures and ways of life, they will feel less threatened by them and may even find inspiration, just as I often do. I realize this may be a naive perspective, but I feel privileged every time I learn something new and hope others feel the same way at least some of the time. LOCATION Chicago UNITED STATES CAMERA/S Sony Alpha 9 II WEBSITE http://franceleclerc.com/ @FRANCELECLERC @FRANCELECLERC FEATURES // Sahib: The Frankincense Boy

I have always considered art as a therapy for my personal well-being and I believe that it’s become a fundamental part of my existence. Photography, as a symbolic and non-verbal language, same as all the other artistic disciplines in which I engage, allows me to create and visualise a bridge that connects my very hidden inner self with the real world. I am really into the faces that are not fully visible and it represents me, in particular. The contrast between visible and apparently visible generates some kind of interest in the observer. A feeling that opens the doors of imagination, disorienting the common sense that makes things already fully visible. NSIRIES I have always considered art as a therapy for my personal well-being and I believe that it’s become a fundamental part of my existence. Photography, as a symbolic and non-verbal language, same as all the other artistic disciplines in which I engage, allows me to create and visualise a bridge that connects my very hidden inner self with the real world. I am really into the faces that are not fully visible and it represents me, in particular. The contrast between visible and apparently visible generates some kind of interest in the observer. A feeling that opens the doors of imagination, disorienting the common sense that makes things already fully visible. LOCATION Bologna ITALY CAMERA/S Sony A7 WEBSITE https://nsiries.com/ @NSIRIES FEATURES // Not Fully Visible

My photography is constantly evolving. Having only picked up a camera with strong intentions of taking photography seriously two years ago, I'm still working out what exactly it is that I like to shoot. I let the light direct me, I am always seeking out interesting shapes caused by how the light interacts with people and my surroundings, which is usually the streets of London. I have worked in the motion design industry for 15 years now, so I'm also looking for simplicity in my composition. Strong shapes and as much negative space as I can get in my frame before the image becomes to obscure. I shoot nearly all my images walking to and from work, I find concentrating on this ever evolving yet small part of the city allows me to really learn how the light moves through it. I'm finding this approach also allows me to start to anticipate when something interesting will happen more instinctively. I started a motion design studio back in 2007 called weareseventeen and I am the father of 2 bonkers girls. STEPHEN SIMMONDS My photography is constantly evolving. Having only picked up a camera with strong intentions of taking photography seriously two years ago, I'm still working out what exactly it is that I like to shoot. I let the light direct me, I am always seeking out interesting shapes caused by how the light interacts with people and my surroundings, which is usually the streets of London. I have worked in the motion design industry for 15 years now, so I'm also looking for simplicity in my composition. Strong shapes and as much negative space as I can get in my frame before the image becomes to obscure. I shoot nearly all my images walking to and from work, I find concentrating on this ever evolving yet small part of the city allows me to really learn how the light moves through it. I'm finding this approach also allows me to start to anticipate when something interesting will happen more instinctively. I started a motion design studio back in 2007 called weareseventeen and I am the father of 2 bonkers girls. LOCATION London UNITED KINGDOM CAMERA/S Fuji XT3 & Ricoh GR3 WEBSITE http://www.iamsteves.com @IAMSTEVES_PHOTOS @IAMSTEVE17 FEATURES // Light Direction

ABYSSES Glaciers are alive...fragile...and disappearing. Magdéleine Ferru shared with us, her up close and personal ABYSSES series of photographs. ABYSSES December 14, 2020 INTERVIEW PHOTOGRAPHY Magdéleine Ferru INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE From the glistening depths of the icy depths of glaciers, to the unique artistry of a photographer capturing the beauty of a melting world; Magdéleine Ferru, known as JustMagd, invites us on a journey that delves into the complexity of human nature, identity and time. Through her captivating photos, she not only captures the breathtaking beauty of glaciers, but also reveals their frailty and the inexorable passing of time. Whether through handmade art books or different art techniques, each of her projects is an exploration of emotions, body and death. Follow her on an intimate journey to discover the hidden secrets of our planet's glaciers and experience the vivid beauty that lies beneath the surface. “I had done some ice climbing, and glacier exploration in New Zealand a few years ago, and I remember the immensity of the ice wall, the blue, the light shimmering through….definitely a fairy tale world. When I got the chance to embark on an adventure to walk on and 'in' a glacier in Alaska, I jumped on the opportunity. I was amazed again at the beauty and greatness of such a natural wonder, but suddenly got aware of its frailty. I could see bubbles and sediments, air and rocks imprisoned in the ice. Glaciers are alive...move, change, melt…they are huge. By taking close up, we lose the feeling of scale. I wanted visually attractive pictures, to get the viewer's attention; its abstract and beautiful. Now come closer, feel the ice, you might never be able to see this again, because its disappearing. They are not huge anymore, instead they are very fragile.” IN CONVERSATION WITH MAGDÉLEINE FERRU THE PICTORIAL LIST: These days, when we see landscapes of ice, there is always a bit of a wistful sensation for the viewer. A fear that it might all disappear because of climate change. Does this play a role in your project? MAGDÉLEINE FERRU: In the series Abysses, definitely, yes. I have had the chance to travel around and over just a few years, I can tell a difference in landscape due to the climate change. If some of my projects are light minded, and dreamlike, some others are made (at least I try to) to awaken the viewer, to make oneself questions all the assertions one believes in, to challenge what one knows (human condition, climate change, etc…) I wish people could understand that just turning of a light when they leave a room, unplugging phones/computer/turning off a TV when they are not in use, being careful with their water consumption (shorter shower, closing tap water when not using it, etc…) recycling, using public transportation (when possible), are huge steps, and if everybody was just doing this simple gesture, making it an habit, a part of their everyday life, it would make a difference. It is just a matter of respect and education. TPL: Magdéleine please tell us about yourself. How did you become interested in photography? MF: My father took a lot of pictures, always in slides, and what a pleasure every time to take out the projector and the screen. It’s like a ritual, a kind of gateway to the forgotten world, before literally stepping back into the past. Travel and photos entered my life, one then the other, then never one without the other. I began shooting with films. The happiness of discovering photo appearing in the developer. Then I went digital during my first long journeys. I worked odd jobs and traveled, inventing myself a new life on every different part of the world, taking inspiration, breathing in life. South of France, my parent’s home remains my forever home. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? MF: I explore feelings, I explore matter: identity and society, human nature, our natural or urban environment, and their relationships, which intertwined in my photographs. Reproduce reality with a touch of utopia. Sometimes the other way around. Bittersweet thoughts. So if my travels and my various experiences continue to animate me, people and body (especially the female body), are regularly found at the center of my work, often dreamlike and delicate, sometimes daring or provocative. The human presence is either clearly visible, or just suggested, as most of my projects question the human (relations, print on our natural world, everyday life, etc..), but also myself, who I am and what is my place in the world. TPL: Where do you find your inspiration? And do you have a favourite place(s) to photograph? MF: My ideas are inspired a lot by what I have been/am going through, and how I feel. I am very sensitive and emotional. Sometimes just a person, a light, a place, a word, an event, a sensation, even a film or a song will inspire me. I am quite sensitive to fairy tales, magical stories, and fables from my childhood. The inspiration and the resulting project can be quite spontaneous. I let myself be surprised by a moment, a situation. I watch the light, if I see something that I like, I go out to take pictures, or even just admire and enjoy the moment. It is also good for inspiration to let yourself relax and look at the gleaming moment. I love photographing snowy landscape in winter light, everything is so quiet and white. You never really know what you’re going to see but the magic surrounds you and makes you enjoy every second of the trip. No matter how many good photos you took the moment is always full of wonder. TPL: Do you have a concept in mind of what you want to photograph, or do you let the images just 'come to you' or is it both? MF: A bit of both really. I have images that come to mind, or in dreams. I take notes, sometimes I make small sketches of the scenes before rendering them into photography. As I said earlier, sometimes something catches my eyes, and I take pictures, not knowing exactly when or for which projects I’m going to use them. I have long term projects that I’m working on, so, I kind of know what I want to show, and what I want to do, coincidences does the rest; definitely a mix of thinking, chance and random opportunities. Les voyages forment la jeunesse. (French saying: To travel makes the young become who they are). Living elsewhere, learning different languages, cultures, traditions, discovering other beliefs, religions, ways of life…Witness other's life. To be an observer, but also to feel. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MF: When I was a teenager, I loved watching fashion shows on TV, especially ones from Jean-Paul Gaultier (it was always magic, spectacular and extravaganza!), and I loved circus and dance shows/movies. I discovered just a few years ago the work of photographers like Kirsty Mitchell full of wonder, reminding me of the illustrations from my childhood books. As I grew up in my practice, I became more interested in photographers like Kyle Thompson or Nicolas Bruno (staging themselves, showing their vision of the world) and multi disciplinary artist like Kelly Webeck, Anne-Lise Broyer, Sara Skorgan Teigen (sketchbook/journals, mix media). I have also met so many great artists during artist's book fair. The workshops I did with Claudine Doury in 2018 really influenced my style, helping me finding my personal language and photographic identity. Richard Petit and Fabienne Forel also helped me each in a different way, in developing my own artistic vision. Richard Petit gave me numerous advises on editing and building a series, while Fabienne Forel introduced me to the art of cyanotype. She is a great artist's book creative as well and it’s always a pleasure to exchange words with her. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? And why? MF: "Enjoy each breath, make the most of each second. Basically life is now, not yesterday, not tomorrow. Never give up." I’m a true believer of dream coming true, if you try enough, if you want enough, if you give enough of yourself. Just believe that it can happen, believe in yourself. I was talking to my dad the other day, wondering why going through all the difficulties of "do it yourself" when I could just buy it; he answered, "it's called ambition"; it makes me happy and proud and that's what matters. And of course "Live, Love, Laugh" - the most beautiful and important things to do for a happy life. 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? MF: It depends a lot of the project I am working on. I like to go back to a film practice for some projects, especially polaroids, Diana (toy camera) medium format, or old instamatics. I am working now on a long term project, kind of a journal of feelings and for me to achieve the 'right now vision' that I want to express, I want to use my polaroids; the medium here defines the all idea; it has to be instant; it has to reflect the mood, the moment. My digital camera is Nikon D7200, mainly one lens Nikon 16/85. It’s perfect for my practice, when I have to be fast, in focus, and ready, or when I want to experiment and play with exposure/lights, photoshop enhancing, etc. TPL: Have you been involved in the artistic world before or other than photography? MF: I am mixing more and more my photo projects with the art of book and with different 'plastic art' techniques (collages, overprinting, mix media, etc…). I create, recycle, incorporating matter into my visual work. I have taken workshop 'book sculpture', and different techniques of book binding. I have participated in a few artist book fairs. I’m working on a project for the next Délires de Livres (artist book exhibition) and in the middle of creating a piece for the series Abysses. I have always been very drawn to books and beautiful illustrations. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? MF: I would like to be able to move forward in many of my projects, and have more time to spend in the dark room. I would like to experiment more ancient photographic processes (cyanotype) and pinhole camera, play with chemicals, and develop my own technique. I would like my work as a visual artist to be recognised as a full time job (so that people stop telling me "But you have time, you don't work". It is work. I would like to succeed in exhibiting my photos in a large gallery or at a festival dedicated to contemporary photography. To be able to live off my art. I warmly thank my family who have always supported me. My parents, my brother and my boyfriend who let me live my dream, who help me and follow me in my wildest ideas. I love you guys! All the people who have trust me over the years, and who encourage me to never give up. My photographer friends who are always here for a question or advice and with whom I am always learning something. A HUGE THANK YOU to all of you! Thanks to The Pictorial List for the interview! Magdéleine Ferru is a photographer who uses her personal experiences to create beautiful and thought-provoking art. With her talent for connecting with what she has seen and lived, she produces art that speaks to the core of human emotion. Magdéleine brings her projects to life through art books and different art techniques. Her work speaks to the beauty of our lives and the joys of being alive. Follow Magdéleine on Facebook to be inspired by her new projects and to experience the unique beauty of her art. VIEW MAGDÉLEINE'S PORTFOLIO Magdéleine's facebook >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

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

I am a passionate photographer with a strong preference for black and white. When I am out shooting, I'm always imagining how it will look edited in black and white...always concentrating to get the geometry, light and that decisive moment good all in one shot, giving an instant kick when it all falls into place! BENNY VAN DEN BULKE I am a passionate photographer with a strong preference for black and white. When I am out shooting, I'm always imagining how it will look edited in black and white...always concentrating to get the geometry, light and that decisive moment good all in one shot, giving an instant kick when it all falls into place! LOCATION BELGIUM CAMERA/S Nikon D800e, D750 and Fuji X100f WEBSITE https://www.bennybulke.com/ @BENNYBULKE @BENNYBULKE FEATURES // Fine Art Street

BOOK BOOK August 14, 2020 ISOLATION PORTRAITS Photography by Suzanne Phoenix Words by Melanie Meggs Late in March 2020 Coronavirus entered the common vernacular of Australians. Our borders were closed, and social distancing rules started, followed by the state government of Victoria closing ‘non-essential’ services. The places we gathered including pubs, clubs, festivals and sports were shut down. For Victorian photographer Suzanne Phoenix who is usually documenting live music and performances, festivals, street photography and daily life, her entire occupation ground to a halt. Spending the first few weeks in fear of who was going to die, and every moment being consumed by the virus, daily walks were a sanctioned luxury where Suzanne could go outside and be in nature. On one of her daily walks, Suzanne met people from two households who let her photograph them. A man seated in his driveway who volunteered that he hadn’t had a drink for ten days and a woman massaging a sick chook that was wrapped in a tea towel. These encounters gave her the idea to document local households if she was able to reach them on foot. Subsequently, Suzanne made a series of intimate portraits and the Project “Isolation Portraits” was hatched. The photographs were made starting on 18th April and capture households located in the Upper Yarra, an area of the Yarra Valley that finishes at the very edge of greater Melbourne. Safety precautions and social distancing measures were kept, and all photos of the households capture people just as they were in isolation, no one dressed up for their photographs. Suzanne’s project documents an eclectic community, including drag kings, cowgirls, families, and their many and varied pets. Photography for Suzanne has always been the love of her life, learning the importance of photographs from her family, especially her grandmother. “My Nana was terrible at it, always with a thumb over the lens, a shadow, or missing the subject completely,” Suzanne says fondly of her grandmother. “I now adore and treasure her photos, they are completely surreal, you couldn’t make these photos if you tried.” Photographing since before she was ten years of age, she got more serious about it around 2012. Suzanne is a self-trained photographer, learning through artist master classes with Stephen Dupont and being mentored by Kate Baker for several years. For Suzanne, this project was a way of re-engaging with her local community after a traumatic experience in 2019, when her trust was betrayed and it significantly impacted her connection with her hometown. “This created its own challenges and many conversations were had along the way, some that I would have preferred to have avoided. But it has enabled me to reconnect and reclaim my place in my community,” says Suzanne. Connecting with the people and places gave Suzanne access to lives that before Covid-19 she normally would not have had a chance to be a part of, and she saw new opportunities that could open the door for her to work in more depth with in the future. “I just asked people," she recalls. “I started with people I knew personally and people I knew via online relationships. As I carried out the project I would ask each household to make a referral of one person or family they thought would be interesting and interested. The experience was overwhelmingly positive and although it had its complexities, like any photographic project might have, it has been very rewarding.” Diversity and inclusion are always a priority for Suzanne as a photographer, and she struggled with this aspect of the project from a number of different viewpoints, as the Upper Yarra Valley is not a very diverse demographic from a cultural and linguistic background. Suzanne also wanted to include people who were not having a positive experience of isolation. Always conscious of the fact that the area has some of the highest statistics of family violence in Victoria, she knew that naturally the people in these situations were very unlikely to want to participate in the project. She was concerned along the way that she might not be able to appropriately represent the breadth of the experiences of the community. She created a framework for the project for herself and a brief for the subjects, which covered consent and Suzanne’s intention to produce a self-publication and an exhibition. “My desire was to release a magazine within the month following the completion of the work that would preserve everyone’s thoughts about this unique period of time as it was being experienced, rather than written about in hindsight,” she says. “I was adamant that every household would be included in the magazine and that no one would be left out, unless they opted out, which some did. This meant I needed to do everyone justice and create images that were both publication worthy and that the people were comfortable being made public.” From an artistic practice viewpoint, Suzanne’s preference is to work with a small camera and lens and getting up close to people, as she has a fascination for focusing on small details. The pandemic meant that she needed to modify her approach in this project, to keep her distance and use a large camera with a long zoom lens. Suzanne remembers the feeling of being alive, normal and grounded when she shot that very first portrait of the series after weeks of not photographing people. She photographed a total of seven households on that first day. Suzanne recalls being exhausted, “people wanted to talk, as for most in this project I was one of the few people who visited them at their home during isolation.” She wanted to try to keep her shoots to no more than half an hour, purely due to Covid considerations. Her process of arriving at a household, most of whom she had never visited before, and with people she had never met, making people feel comfortable and finding where to make the portraits, all in less than thirty minutes in retrospect now sounds a little crazy to Suzanne. Suzanne photographed more than 60 households in total and made a series of portraits that included more than 120 people and dozens of animals. Every household was provided with a selection of images and Suzanne’s preferences for use for their approval. Running alongside this, everyone was encouraged to write of their isolation experience. These texts were included in the magazine without any editing. Suzanne selected a quote from each person’s words as a highlight in the magazine and in doing so was very mindful of creating a prevailing focus or feeling of each person. Meeting all sorts of people, Suzanne learned a lot about their lives and heard stories of trauma and how isolation was impacting their mental health. At the end of the second stage of the shooting on 30th June 2020, she felt privileged to have so many households involved, but was quite physically and mentally exhausted. Through her photography Suzanne has a ‘knack’ for storytelling, her portraits have a quietness and secrecy about them, but at the same time they are dynamic and send a powerful message. When asked about this, Suzanne says that she respects people's privacy even when she photographs them, creating a safe space so they can show her something of themselves. “I think I see them, and they see me.” Consent is critical to Suzanne. She is skilled at meeting people where they are at, and sees herself as an honest, strong and confident person, which enables trust. As a result of this project, Suzanne’s personal relationships with people she already knew, or knew of, have deepened, and she has made a few new friends throughout this project. Ned, The Wobbly Wizard, stands out as someone who has enlightened and inspired Suzanne the most, so much so that she told him he was her new muse. At the time Ned was living in a tent in the forest and he certainly challenged her assumptions on COVID-19 being a more difficult time for those living in similar situations. He shared that the restrictions were making life better, he was not being moved on and hassled by people and could stay in one place. As he jovially told Suzanne, “finally personal space is in fashion!” Since that first shoot Suzanne has created nudes in the forest and river with Ned, a first for both of them. Without a doubt, Suzanne’s “Isolation Portraits” has proven to be a success. The first magazine was launched online as part of Yarra Valley Writers Festival and soundbite podcasts are being created in collaboration with YVWF also. All these outcomes help raise the profile of the small region of the Yarra Valley. “Ultimately,” explains Suzanne, “I wanted to document the lives of the community through this global pandemic for historical purposes.”Within a couple of months of its release over 100 copies of the magazines had been purchased by the local community and from people all over the world. All of the portraits have been printed as transparencies and exhibited in windows of four local businesses. Being able to exhibit these images, when all galleries are closed, is a rare opportunity and among the feedback Suzanne has received, people have told her that they feel like they are connected and can see their community again. The self-published magazines “Isolation Portraits 1” and “Isolation Portraits 2” by Suzanne Phoenix can be bought online through Suzanne's website. Suzanne is currently working on “Isolation Portraits” - Stage 3 while Victoria is in stage 3 and 4 restrictions. The Pictorial List will be thinking of all Victorians as they go through this tough time ahead. Stay safe. VIEW SUZANNE'S PORTFOLIO CLICK ON IMAGES TO ENLARGE 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.

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. 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. August 10, 2025 INTERVIEW PHOTOGRAPHY David Gray INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE David Gray is not the kind of photographer who simply shows up to take the shot. His work emerges from time, presence, and attention, the three things that can’t be faked or rushed. A Scots-born photographer and writer now based in New York City, David’s creative path has taken him across continents and subcultures, from the remote mountains of Colorado to the chaotic pulse of urban protests, from the car-laden backroads of Florida to quiet corners of public institutions. What ties his work together is not subject matter alone, but an enduring commitment to observe carefully and connect deeply, whether with a place, a political moment, or the people who inhabit both. David is co-creator and one half of the photography team for Driver’s Journal, a print publication documenting America's love of automotive culture. His photography has appeared in publications such as The Sun Magazine, and he’s currently developing a series of large-format, 200-page print volumes that reflect his long-form, immersive approach. His most recent monograph, a portrait of New York City, was released by Grand Editions in late 2024 and quickly sold out, a testament to the resonance and reach of his photography. David’s recent residency as Photographer-in-Residence at Brooklyn’s Central Library took him deep into the life of an institution that serves both as cultural anchor and community lifeline. That project, soon to be released as a major photo essay and exhibition, pushed him to document not just people but systems that support, fail, or quietly sustain everyday life. His ongoing series, What Do We Want? reflects his interest in how public life unfolds during times of protest. Photographed over the course of a year in New York City, the project looks beyond the expected images of marches and signs. Instead, it focuses on the everyday moments that shape these events, listening to people in conversation, the presence of police, the reactions of bystanders. Through this quieter approach, David explores how social and political movements are experienced on a human scale. As a Green Card holder, David is also aware of the personal risks that come with documenting civil unrest. And yet, his journalist’s training and ethical grounding propel him to bear witness anyway. He follows the story, even when he’s unsure where it ends. In the conversation that follows, David reflects on the emotional and ethical dimensions of image-making, the balance between truth and care, that guide his practice. His commitment to walking five to ten miles a day through New York City, builds his vocabulary of visual narratives that live in books, exhibitions, and memory. “As a journalist and photographer, you’re always ‘other’ in a sense: never belonging, always witnessing. And as a Green Card holder, I’m aware of my status here as a guest. I love NYC, and by extension, the USA: what it stands for and its potential and principles are unique, and special. I would hope that journalists who are reporting objectively and fairly will always be welcome, but I am aware that one misunderstanding could imperil my path to citizenship. I can’t not document my adoptive city and country, though, because what seems mundane to us now, or awful, will to future generations be as fascinating and alien as those old subway pics we marvel at, with the graffiti and Guardian Angels.” IN CONVERSATION WITH DAVID GRAY TPL: The title What Do We Want? is both evocative and open-ended, yet grounded and rooted in protest, still resonating far beyond slogans. What does that question mean to you personally, and how does it shape the way you framed the images in the series? How do you translate not just the action of protest, but the emotional undercurrent of grief, rage, hope, resilience, then turning a single image, into a lasting frame? DAVID: I remember student protests in Scotland, where someone would always shout, “What do we want?” and someone else would yell back the answer(s). “And when do we want it?” the original shouter would reply. “Now!” the crowd would shout. And that would repeat endlessly, growing in volume and passion. There’s something primal in most of us, that wants to be part of a crowd, with a clear purpose and magnified power. And I was and am fascinated by the way ordinary people become extraordinary when they have a crowd at their back and a megaphone in their hand. Every emotion is heightened, and every detail exaggerated. These protests, though, had simple political goals. What I see here are protests that are umbrella movements for anger. And in the case of the Drag March and the Queer Liberation March, a defiant wish to be seen and counted. Whatever the motive, protests take courage, and we should all be proud of that, even if we don’t feel the same passion for a particular cause. TPL: As this series begins to take on new forms, as an exhibition, as an essay, what kind of impact or dialogue do you hope What Do We Want? sparks? What do you want viewers to carry with them? What is their takeaway, what is yours? DAVID: Documenting protest in a city where people co-exist despite vast differences, is to witness the social compact fray at the edges. It offers a glimpse of what lies under the surface. For the most part, protests in America are a way for people to blow off steam without burning it all to the ground. It’s democracy’s wonderful pressure valve. That’s what I’d love viewers to see, though what people take from my pictures is entirely up to them. We all see things differently: the trick is to appreciate that, and to know the power of a photograph. All too often protests are reduced to a sensational image of violence. Don’t get me wrong: flashpoint moments are news, and have to be recorded, but they can play into the hands of those who would equate protest with violent revolt. My own takeway? Ordinary people in extraordinary times need a last recourse, and that is public protest. TPL: Has your experience with What Do We Want? opened new directions you want to explore, whether in protest photography, or in entirely different spaces, cultures, or themes that you feel drawn to next? As you look ahead, are there questions you haven’t yet resolved through your work, about people, power, or place? Does that continue to drive you forward creatively? DAVID: I will keep taking protest pictures, as I sense this is only the beginning, as we respond to political and social change. I look forward to seeing what protests and marches might evolve into, if anything: I sense that it takes a lot to make Americans go out on the streets and protest, and it’s hard to know if there’s the appetite for much more of that. I always have other projects simmering. I’d love to take my recent Brooklyn Public Library residency and apply that approach to a great museum or gallery. And my passion project – to record and understand why people act as they do, at the 9/11 Memorial Pools – may or may not come to a conclusion. I’ll also keep taking pics on, around and of The High Line, and the people who crowd onto it and often look like they don’t know why they came. And then there’s my ongoing project on the subject of how people behave around art…I could go on…basically there’s no limit to the things I want to shoot. In tandem, I’m in talks about a bi-annual photo pictorial of my NYC shots, with themed sections, and a long read by an author whose love affair with the city will serve as a counterpoint to my images. That may need a sponsor who adores NYC as much as we do, so who knows. TPL: Has documenting these protests and spending so much time immersed in the city’s charged political and cultural life, changed your understanding of America? What about your place within it? Looking back on What Do We Want? - how has this experience shaped the way you see the country, the city, and yourself? As this chapter of your work evolves, what will propel you forward from the streets, the people, and the moments that made you raise your camera? DAVID: I’ve barely scratched the surface of NYC, let alone America. But seeing why people protest, and how (and how often they don’t protest at all) has given me some minor insight into what makes society here work. I think that within the USA, individual states differ more than European nations do (language aside) and that people are struggling to find a meaningful national identity. There’s nothing like pointing a camera at someone to let you see their true character. And – touch wood – I’ve found the overwhelming majority of people here to be good hearted and kind, even if they don’t always know how to express that kindness to fellow Americans (and would-be Americans) who they don’t understand. The experience has also reminded me of the need for balance: there are people who seek to paint the great cities as anarchic hellholes, whereas I see in NYC eight-million-something people all mostly getting along and seeking to sleep safe in their beds at night. So, I’ll also keep shooting dogs sleeping in cafes and people doing wheelies on bikes: the everyday stuff that society runs on. TPL: Can you share the backstory behind one photograph that deeply moved you? Perhaps an image where something in the atmosphere, gesture, or energy instantly connected with you and made you press the shutter without hesitation? DAVID: Of the protest set it’s perhaps the quietest one. It’s a close up (and a little soft) night shot of a woman turning to look past me, and her eyes are glistening. The full story of what was happening at that exact moment isn’t clear in the image (so in that sense it was a flawed shot, though aren’t they all?): it was the end of the Drag March, and a crowd had gathered outside the Stonewall Inn to sing Somewhere Over the Rainbow. It sounds a little corny, but there and then it was one of the most moving things I’ve ever witnessed. I think she was overcome with emotion as the song ended, and looking for someone, but I might be reading too much into a moment that was gone in a flash. That’s the power and danger of a still image: we can interpret it any way we please. TPL: When you’re photographing someone in a moment of intensity, vulnerability, or confrontation, especially in communities outside your own, how do you balance the responsibility to tell the truth with the need to protect dignity? What guides you in making those calls with both care and clarity? DAVID: I always have in my head the question, “What would that person’s mother think of the photo you’re about to take?” Of course I’ve no way of knowing the answer, and if I only took photos, I was sure someone’s mum would love, I’d hardly ever press the shutter button. But as a rhetorical question it helps remind me of my purpose and responsibility. I’m not a fan of ‘poverty porn’, where the picture only serves to show someone at their lowest point, with no greater purpose than titillation. Equally, I’m not telling anyone else what to take or not to take: documenting the human condition is vital. But every photo posted affects how we see ourselves and our society, and we have a duty to be honest about our motivation for portraying things the way we do. And that’s never more acute than when photographing communities outside of our own. I wouldn’t assume everyone loves the pictures I’ve taken of them, but I hope they would agree I treated them with respect. TPL: Walking five to ten miles a day through New York has become part of your creative rhythm. How has that daily practice shaped the way you see and photograph protest, or the city more broadly? Has it helped you tune into the unspoken cues or emotional currents of public gatherings? DAVID: It means I stumble across things that I would otherwise have missed. I was recently on the way to the Memorial Pools at the 9/11 Museum as part of yet another of my obsessions: documenting how people behave at a sacred site. En route, I walked into an anti-ICE protest downtown, that was because of its spontaneity and anger, one of the most memorable. A few days later, on a hot summer night, a similar protest stalled at a particular junction, and the mood abruptly changed for the worse. There were more police than protesters, and they became my focus: their formations and intent, a sense of watchfulness and implicit warning. Living in the city means always having a sense of the mood, and the knowledge that things can change quickly. That said, of all the cities I’ve lived in, I rate NYC as the most gregarious and open. As a Brit, you have to lose the urge to waffle politely when asking a stranger for help: “Excuse me, sorry to bother you but…” will ensure you get nowhere. If you get to the point, though, people will go out of their way to assist. Or at the least, tell you what they think at full volume. TPL: Your images often focus not on spectacle, but on what’s unfolding quietly at the edges: bystanders, police, stillness in the quiet tension that surrounds moments of public unrest. What are you hoping to reveal by including these often-overlooked perspectives? How do these peripheral figures add to the emotional and political complexity of the story you're telling? DAVID: When you look at protesters and police in NYC, it’s easy to see utterly opposing sides. But if you could see connections as an overlay, we’d see all kinds of associations, and commonalities. The police shape the protests and contain them, and give them a sense of purpose as well, since they are often the visible arm of the very things the protesters are on the streets to protest against in the first place. When you have tens of thousands of protesters, and thousands of police, plus marshalls, legions of bemused tourists and intolerant motorists all crammed together, you see people at their most alive. The center of a protest is mostly predictable and vivid. The edges are where the dynamic is most flexible and most important, because it’s where protesters and police and passersby all meet, rub up against each other. A thousand little dramas play out on the periphery. I love to be able to move in and out, to see the faces of police from inside the protest, and to frame the protesters from the point of view of the police and bystanders. TPL: Before your camera even leaves your side, what speaks to you first in a new place, whether you're halfway around the world or just across the city? Is it the rhythm of people, the quality of light, a flicker of tension? What tells you there’s something worth listening to with your lens — across cultures, across borders? DAVID: I just start walking. I have a very poor sense of direction, and it takes a lot of miles before I have any idea where I am. My niece visited NYC recently, and wanted to go to the Met Museum, which is one of my favorite places. It went well until she started to ask me to show her specific items, and it became clear I had no idea how to find any of them. “How can you be lost when you come here all the time?” she demanded. “Not knowing exactly where you are isn’t the same as being lost,” I explained. Amazing things happen when you don’t have rigid expectations. TPL: You’ve photographed everything from rural car culture to public institutions to protest marches. What connects these projects for you? Is there a thread or question that runs through all of your work, regardless of subject? DAVID: People. The way people react to their environment and each other is endlessly fascinating. I’m intrigued by everyday interactions and fleeting emotions. I could look at faces all day long, but often shoot people from behind, because that places the viewer in the driving seat, almost like a first-person video game, and rather than being distracted by trying to read too much into an expression, we see what the subject sees, and where they’re going. We then make all kinds of mental connections and guesses based on conscious and unconscious cues and biases. Landscapes – particularly urban ones – without people are also fascinating. We do not, as a species, tread lightly on the environment. TPL: Many of your projects, especially your long-format print volumes, require patience, endurance, and deep focus. In a fast-paced media world, why have you chosen to work in this slower, more sustained way? DG: There’s a nostalgia for a time when images and words were tangible things. I do a lot of digital work, but I’ve never been busier on print projects than right now. The printed page, and the ability to juxtapose images and build a narrative through the order and presentation, is unmatched. I was fortunate recently, to experience something that people like us seldom do: witnessing others react to my work in a public setting. I had promised to deliver an issue of a print mag I’d shot for, to a legendary automotive designer (it’s always a pleasure photographing people who are passionate about whatever they do). I did so quietly in a hotel bar, and to my horror, he made a fuss, gathering a collection of his world’s great and good around, so they could go through the magazine page by page. That is pretty much my worst nightmare, as I hate being the center of attention. So, being quizzed on every shot, and having people (unasked) articulate what they took from it and ask me why I had shot things as I had, was excruciating. It must have taken 20 minutes, that felt like hours, and I was a puddle of sweat by the end. But what an honor, to see your work through others’ eyes. David Gray’s photography moves beyond simply capturing moments. It explores the deeper stories and emotions within them. Whether documenting protests in New York City, daily life in a Brooklyn library, or landscapes and communities around the world, his images reveal layers of human experience often overlooked in the rush of headlines. What Do We Want? is more than a record of protests; it’s a reflection on the complexities of social change, the quiet interactions, the emotional rhythms, and the many perspectives that make up a city alive with activism. This project stands alongside a broader body of work that connects cultures, places, and people across continents, all approached with an attentive and respectful eye. David’s work doesn’t just observe; it engages. It listens. As both a journalist and photographer, his approach invites viewers to look deeper not just at what they see, but at the feelings and contexts that give each moment meaning. While What Do We Want? reflects a city in motion and a photographer responding to the moment, David Gray’s wider body of work reveals a practice rooted in curiosity, patience, and respect. Each image encourages us to ask not only what do we want — but what do we see, and what do we remember? Explore more of David Gray’s diverse and evolving work by visiting his portfolio. VIEW DAVID'S PORTFOLIO website >>> instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.