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A-LUZ-CINANTE Nego Júnior shows us a fanciful look at dancefloors, couples, trios and crowds driven by style, movement and culture. A-LUZ-CINANTE November 17, 2021 INTERVIEW PHOTOGRAPHY Nego Júnior INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Nego Júnior is an artist whose passion and commitment to creating art is undeniable. Through his photography and films, he brings to life the vibrant cultural heritage of the City of São Paulo. His expertise in digital design and business management, as well as his postgraduate degree in Media, Information and Culture, have enabled him to explore the depths of samba rock culture and to capture the beauty of its unique movements and expressions. Every shot of Nego's work radiates with the illuminating joy that is found in samba rock culture. His work is known for its ethereal stills of dancers in their element, each one holding their own in a unique and beautiful way. Nego captures the moments of twirls and turns in the samba rock dancefloors, connecting them to ancient African musicality and body expression. His work has become a source of inspiration for other artistic and cultural movements, as it showcases the soulful energy of samba rock and its history. Nego is also the founder of the collective Samba Rock Na Veia, being one of the protagonists that started the process of registering samba rock as an intangible cultural heritage of the city of São Paulo. Through his work, he brings to life the traditional sounds and movements of this culture with a creative eye and a vivid imagination. Nego Júnior's work takes us on a journey through the vibrant world of samba rock, a world filled with music, dance and culture. With each image, he captures a timeless quality that speaks to our souls and inspires us to appreciate the beauty and richness of this culture. “The suburbs, slums...call my attention and make me think about human relationships and how racism is cruel. Thinking about it gives me ammunition to defend myself and my people. Brazil has not cured itself of slavery, it is there.” IN CONVERSATION WITH NEGO JÚNIOR THE PICTORIAL LIST: Nego please tell us about yourself. How did you become interested in photography? NEGO JÚNIOR: I was born and still live on the outskirts of São Paulo, the largest city in Brazil. I grew up in the most violent region of the country in the 1990s, the region known as Capão Redondo. I started photographing when I started to have more contact with the black populations' dances here. TPL: Talk to us about your series A-LUZ-CINANTE - Samba Rock? What do you want the viewer to experience and take away with them? NJ: I want people to realise this “black magic”. This term here in Brazil is seen in a racist, prejudiced, pejorative way…And it is nothing more than the charm that black people have in celebrating their union. TPL: Do you ever get burnt out creatively? Explain how you keep the creative energy flowing. NJ: My ancestral connection with nature makes me have this energy. My ancestors deserve my effort. TPL: What are some tips or advice you would give yourself if you started photography all over again? NJ: Prefer a camera to a gun. I've always worked with more visual things, photography, design, video…But love really comes from my spirituality and blackness. TPL: Do you have any favourite artists and photographers? NJ: Lázaro Roberto, Lita Cerqueira, Eliária Andrade and Jean-Claude Moschetti. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? NJ: Walter Firmo, he is an icon of Brazilian and world photography. TPL: When you are out shooting - how much of it is instinctual versus planned? NJ: I can't say, but my biggest quest is to know how much of this is spiritual? 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? NJ: I've always used Canon input cameras and only recently had my first camera from this brand with a full frame sensor. I usually use what I call a basic, a 50mm and sometimes I shoot with a Rokinon 14mm wide angle. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? NJ: I'm working on a series that talks about the ego within the African matrix religions here in Brazil, creating a relationship of this with the whitening of these cults. My goal is for us to win this visual war where black bodies are not still hit with bullets but clicks of a camera. TPL: "When I am not out photographing, I (like to)… NJ: I'm sleeping as I don't depend on the camera to take pictures." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of light and shadow. I specialize in sauntering the streets, ever seeking for the decisive moment, compelling forms and enjoying ordinarities. I was proud as punch when my work was digitally showcased at no less than the Venice Biennale in 2019. Packed with creativity, I am currently delving into new portraiture looks. ROUVEN KURZ I am a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of light and shadow. I specialize in sauntering the streets, ever seeking for the decisive moment, compelling forms and enjoying ordinarities. I was proud as punch when my work was digitally showcased at no less than the Venice Biennale in 2019. Packed with creativity, I am currently delving into new portraiture looks. LOCATION Cologne GERMANY CAMERA/S Fujifilm X-E2 WEBSITE https://rouvenkurz.com/ @ROUVENKURZ FEATURES // Framing Geometries

CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. CONNECTED DICHOTOMIES July 5, 2024 INTERVIEW PHOTOGRAPHY Tatyana Mazok INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Emerging from the vibrant urban fabric of Minsk in Belarus, photographer Tatyana Mazok captures the essence of existence through her lens. With a rich academic background at Belarusian State Economic University, Tatyana tempered her mind with discipline, later infusing her artistic work with precision and passion. It was through photography that she discovered her authentic voice, a confluence of her diverse interests and her intrinsic identity. In 2019, under the illuminating mentorship of Elena Sukhoveyeva and Viktor Khmel, Tatyana’s creative flame was kindled, propelling her on a journey of exploration through the author’s school. Subsequent years saw her delve deeper into the nuances of the craft, navigating the realms of visual history at the Fojo: Media Institute Linnaus University and honing her cinematic eye at the esteemed ‘Marusina Masterskaya.’ Tatyana transcends mere technical skill. Her photography embodies the ability to capture the ephemeral, immortalizing the beauty of life’s transient moments. In her own words, “I shoot what I love and what interests me at a particular moment. And I get satisfaction from capturing the moment.” In her series “Connections,” Tatyana presents an introspective journey, using evocative diptychs to explore the complex web of relationships that shape our existence. Her lens thoughtfully transforms everyday moments into timeless reflections of beauty and self-discovery. Authenticity and emotional resonance are the cornerstones of Tatyana’s photographic philosophy. Her intuitive approach fosters a depth of immediacy and honesty, drawing viewers into her experiential narrative. Throughout the series, Tatyana deftly captures the ceaseless flux of the world around her. From the ever-shifting landscape of her urban surroundings to the subtle nuances of human interaction, each image serves as a testament to the ephemeral nature of existence. Yet, amidst the perpetual tide of change, Tatyana finds solace in the unchanging beauty of the natural world. As she eloquently observes, “The photos remain unchanged: family, nature, city and myself.” Central to the thematic fabric of “Connections” is Tatyana’s exploration of the myriad connections that bind us to one another and to the world at large. Tatyana skillfully reveals the hidden patterns of interdependence, sparking contemplation of our profound interconnectedness. Whether capturing the delicate symmetry of a family unit or the symbiotic relationship between humanity and the environment, Tatyana’s images serve as poignant reminders of our shared humanity. Beyond the visual allure, Tatyana’s work invites philosophical contemplation on memory and perception. She captures not just the world around her but also her personal experience within it, offering a unique perspective on the narrative flow of life and the resonance of visual storytelling. Join us in delving into Tatyana Mazok’s heartfelt photographic vision — a vision that extends beyond mere documentation, embodying the profound impact of photography as a conduit for introspection and discovery. “CONNECTIONS is a polysemantic name. On the one hand, there is an external visual connection between the photographs in each diptych: through color, compositional technique, and similarity. On the other hand, it is about the connection between human and nature, human and the city. And, how much they have in common. It’s also about my internal connection with each element in the photograph, because it’s all familiar to me: my beloved children, Belarusian nature, familiar roads and courtyards.” IN CONVERSATION WITH TATYANA MAZOK THE PICTORIAL LIST: Welcome to The Pictorial List Tatyana. What drew you to pursue photography as a form of artistic expression? TATYANA: At the very beginning of my journey, the technical part of photography was very difficult and took a long time for me. I slowed down and didn’t think about artistic language at all. I wanted to reveal all the technical secrets and, by pressing the camera button, produce beautiful masterpieces, filming everything. It was a great practical experience that led me to understand that photography can speak without words, speak for me, broadcast my inner feelings of the world around me. TPL: What role do diptychs play in conveying the interconnectedness of life in your work? How do you approach the composition and presentation of your diptychs to convey the connections you seek to highlight? TATYANA: Life and creativity are inseparable for me. In the diptychs there is an intensification of life. Moments from it. Let's just say, life twice: here it is life from frequent traces of birds on fresh snow and here is how the first rays of the sun covered a young face with freckles. They seem to be static objects, but they are a recording of what is happening in my life. The process of creating diptychs is always a unique event. It happens that one of the parts waits for its other half for two or three years. I don't deliberately shoot a frame in tandem with an existing one. I just take a photo of something, and then I scroll through it in my head and remember that once upon a time I already took a photo that would look incredibly good with it. Sometimes I make mistakes, but most of the time this exercise is successful. Can you imagine how great it is to bring together different years and different places? Of course, I pay attention to the composition of both parts. To enhance the effect, sometimes you have to crop the original frame. TPL: How do you incorporate elements of emotion and storytelling into your photographs to evoke a deeper connection with viewers? What emotions or messages do you hope viewers experience or take away from your photographs? TATYANA: I achieve contact with the viewer by close framing and large details. It turns out to be a kind of presence effect. The project is not difficult to perceive, visually calm in color, and it seems to me that every viewer will find in it something from their everyday life, memories from yesterday or today. I would also like the project to remind everyone of the beauty of every moment, of the value of our everyday life. TPL: How do you select the subjects or scenes that you capture in your photographs? What role does personal reflection play in your photography process, particularly in relation to your own connection to the subjects you photograph? TATYANA: Most often, my attention is attracted by lines, geometry, a fallen shadow, or my internal problem. I can walk and notice a fallen leaf, and now it’s already in the frame. I haven't photographed everything for a long time. And at different periods of my life my focus of attention changes. This gives food for thought - what is most important to me now. My inner experiences are transferred into photography. This changes the topic of research, working through a photograph of one’s feelings. This also affects the choice of color combinations in the frame. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? TATYANA: I had the experience of taking an amazing “Film Frame” course, where students watched films of one famous director every week, for example, “Kurosawa.” We analyzed the director’s visual language, his distinctive techniques, for what purposes and emotions they are applicable. And then they filmed their shoot using that language. Afterwards, I always thought about what I wanted to say with my shot, and what color, light, and compositional technique would help me with this. I also began to look at photographs of other authors, analyzing the author’s language. My photography serves as a documentation of my life. TPL: In what ways does your photography serve as a form of documentation or storytelling of your life and experiences? TATYANA: In general, all my photography is a document of my life. Whether I shoot self-portraits or my surroundings, this is all my little story. I show up in my photographs. You could say it's a photo diary. And, if they look back, this woman’s diary will talk about her mood, outlook on life, favorite color, some internal conflicts, joyful moments. And sometimes this diary has blank pages. TPL: Can you share any insights or lessons you've learned about yourself or the world through the process of creating “CONNECTIONS”? TATYANA: In the process of selecting photographs for the “Connections” project, I once again reminded myself of my inspiration and my content. Reviewing several years of archives, I have determined that my eye and my camera focus on what I love. I am filled with my family, the city I live in, trips to nature and myself. TPL: What drew you to study under Elena Sukhoveyeva and Viktor Khmel at the author’s school, and how did that experience influence your photography? And, how has completing courses such as ‘Photo History’ at Fojo: Media Institute Linnaus University shaped your understanding and approach to photography? TATYANA: At a certain point, I felt limited in my knowledge of photography. And how funny it is for me now, it seemed to me that I already knew so much. But I didn't know where to move next. In the direction. I was drawn to art, but there seemed to be a gap between us. I understood that I couldn’t handle self-education on my own; I needed a guide. In my search for a teacher, in reading reviews, in correspondence with graduates of Elena and Victor, I realized that this was what I needed. But I didn’t know that this would be the most difficult training, full of information, lectures, and deep immersion in project photography. A new, different world opened up for me, new names in the world of photography. Unfortunately, for a number of reasons, I was never able to complete my graduation project at this school. The knowledge gained here was structured in my head and rethought over the next three years. We can say that they were the basis for my design thinking and are still sprouting. The “Photo History” course, on the contrary, turned out to be easy for me to understand, but also deep in knowledge. A lot of material was filmed. I learned to speak through a series of photographs. My personnel selection process has changed, my view of topics that are of interest to society and other people, but not previously relevant to me, has expanded. But the main takeaway is to always choose what is important to you. Then working on history will be a pleasure. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TATYANA: I am firmly convinced that everything I saw and heard earlier in one way or another influenced me as a photographer. Something is filtered, something is analyzed and leaves an imprint. But I cannot pinpoint the authors who shaped my approach. I can name who I'm currently inspired by. Among the photographers are Jaume Llorens with poetic images of nature, Saul Leiter with his irregular framing, negative space, amazing color, Ilina Vicktoria - her portraits fascinate with light, contrast and deep emotion. I also really love the visual techniques of director Paolo Sorrentino. TPL: What do you hope to achieve with your photography in terms of personal growth? TATYANA: Great question! And of course I will be honest. I dream that my photograph will become part of the collection of MOMA, the Hermitage, and the European House of Photography in Paris. I dream of becoming one of the hundred most famous female photographers in the world. Loud, but that's how it is! TPL: When you are not creating your art through your photography, what else could we find Tatyana doing? TATYANA: I try to find time for everything that is dear to me. I used to sew a lot, embroider, and make jewelry. Now I read more, go to theaters, museums and of course spend time with my large family. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

PICTORIAL STORY VECINOS NEIGHBORS April 9, 2021 PICTORIAL STORY Photography and story by Drew A. Kelley Introduction by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Amid the heated political debates and ideological divides that often characterize the United States-Mexico border, Drew A. Kelley takes a moment to step away from the fray, and instead, to observe and document the lives of the people who inhabit the area. A daily newspaper photojournalist and self-proclaimed lover of street photography, film, and people, Drew is passionate about capturing moments of connection and community that are often lost in the chaos of politics. Drew’s latest project, Vecinos (Neighbors) is a personal passion project driven by his dedication to celebrating the humanity that resides in the borderlands. He has decided to use his photography to create a visual narrative of life at the US-Mexico border — one that tells stories of resilience, strength and compassion that are often overlooked. To do this, Drew has turned to 35mm black and white film. While deadlines often require him to shoot digitally, Drew has taken advantage of this chance to explore his love for film photography. Through his photography, Drew hopes to bring attention to the realities of daily life at the border. And by viewing these moments through black and white film, Drew seeks to provide a powerful and empathetic exploration of life on both sides of the divide. Through this poignant body of work, Drew invites us to look beyond the headlines and discover what lies beneath. In 2018 a caravan of largely Central American migrants fleeing persecution and/or violence arrived at the border between Mexico and the United States. Hundreds of those migrants were forced to wait south of the border in Tijuana, MX for the opportunity to request asylum from U.S. border authorities. The situation quickly became a humanitarian crisis, and their plight was covered by multiple news outlets around the world. I too was drawn to their story and traveled to the El Chaparral Port of Entry to give them a voice in my local community. I then spent two days documenting the inner workings of the camp. Medical personnel, volunteers and various authorities would come and go throughout the day to assist mostly mothers and their children. Once I found a local focus and the article was published, I realized how few people knew what was happening down there. As a person who calls California home, it was clear that regardless of how often the border makes the news, a portion of the population has never seen it firsthand or is indifferent. My initial goal quickly evolved into a three-year project to document the entire border between California and Mexico. I decided to take a linear approach by first photographing where the wall meets the Pacific Ocean and I followed it to the California/Arizona state line. Whenever possible, I worked on foot to engage with as many people as I could. Over time, I learned how much each side of the wall has in common with the other. Everything from recreational activities to social issues/norms are often mirrored on both sides of the line. Parallels were commonplace throughout this project. Outside the city of Tecate, Mexico, I photographed a man enjoying a moment of tranquility by swimming on his back at a public pool and in the border town of Jacumba, California, I photographed a woman soaking in a natural hot spring which offered her the same feeling. Just north of the wall in Calexico, California, I met and photographed an inebriated man on the street and by chance I met and photographed his equal on the streets of Mexicali, Mexico. Water drops organized by the nonprofit organization, Border Angeles were a regular occurrence. Their goal was to reduce the number of deaths along the US-Mexico border by distributing water to remote parts of the desert that are used by immigrants crossing by foot. I spent a day documenting one of these water drops at the border that included volunteers from the United States and Mexico. The volunteers came together, braved 109° heat, to help those searching for a better life. Regardless of what country people called home, families separated by the wall were equally heartbroken on both sides. At the International Friendship Park, a binational park between San Diego, California and Tijuana, Mexico, their emotions transcended the rusty steel separating them and during editing, it was difficult to distinguish which photographs were taken on which side. © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley Water drops organized by the nonprofit organization, Border Angeles were a regular occurrence. Their goal was to reduce the number of deaths along the US-Mexico border by distributing water to remote parts of the desert that are used by immigrants crossing by foot. I spent a day documenting one of these water drops at the border that included volunteers from the United States and Mexico. The volunteers came together, braved 109° heat, to help those searching for a better life. © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley © Drew A Kelley By documenting the physical border between the United States and Mexico, I hope any preconceptions people may have will be broken down and eventually replaced with empathy. These photographs are a testament that regardless of the man-made barriers between us, we are all human beings merely separated by nationality. view Drew's portfolio Read an interview with Drew >>> Instagram >> > The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by illustrator Fran R. Learte and creative director Natalia Molinos. Their work combines an impressive range of digital elements and abstract patterns which they create in order to elaborate pieces of art with a deeply aesthetic feeling. NASTPLAS NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by illustrator Fran R. Learte and creative director Natalia Molinos. Their work combines an impressive range of digital elements and abstract patterns which they create in order to elaborate pieces of art with a deeply aesthetic feeling. LOCATION Madrid SPAIN CAMERA/S Canon, Polaroid WEBSITE https://www.nastplas.com/ @NASTPLAS_SNAPSHOT @NASTPLAS FEATURES // Conceptual Reality

PICTORIAL STORY THEY HAVE GONE Abandoned but not forgotten, the farmhouses of the lower Piave stand as quiet monuments to a vanished rural life. In this beautiful photographic journey, past and present meet in the silence of stone and soil — revealing the poetry of a land shaped by labor, memory, and time. November 8, 2023 PICTORIAL STORY photography LORENZO VITALI story LORENZO VITALI introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The landscape of Eastern Veneto in Italy holds a special place in the heart of Lorenzo Vitali. It is a place that has long captivated him, evoking strong emotions and a deep sense of connection. In particular, the lower Piave region stands out for its unique architecture, characterized by the presence of farmhouses that are an integral part of the landscape. For an attentive observer, these farmhouses cannot go unnoticed as they stand out along the provincial roads or hidden within the secondary road network. And for Lorenzo, it was this very landscape that he felt compelled to explore, to understand its emotional affective relationship and document it through his photography. But this journey was not one that Lorenzo took lightly. He spent a significant amount of time researching and studying maps, carefully planning his approach before venturing into the field. Armed with the right perspective, lighting conditions, and photographic equipment, Lorenzo was ready to capture the essence of Eastern Veneto. However, it was not just about capturing the physical aspects of the landscape and its architecture. Equally important was delving into the historical and geographical context of this region. Through in-depth analysis, Lorenzo was able to gain a deeper understanding of the topic at hand. But what was the ultimate purpose of this journey? Was it simply to create a documentary of the landscape and its buildings? No, for Lorenzo, it was about capturing the emotional cues that had drawn him to this place and using his photography to convey that sentiment to others. We join Lorenzo on his journey through Eastern Veneto, exploring the landscape, history, and architecture that have left a lasting impression on him. Prepare to be captivated by the emotional power of this region and its unique charm. THE HISTORICAL GEOGRAPHICAL CONTEXT The progressive reclamation of these territories, implemented gradually with greater intensity and effectiveness in the last twenty years of the 19th century and then in the first half of the 20th century, created the possibility of considerably expanding the areas destined for agriculture. The Reclamation Consortiums that have arisen here, as happened in other areas of the Veneto and Italy, are clear evidence of this. The farmhouse, which spread as a constructive model in these areas mainly between 1880 and 1935, had the function of providing a house adjacent to the workplace for the laborers who worked the land with sharecropping contracts. These structures generally arose quite isolated in each of the numerous landholdings. However, already towards the end of the 1950s, the industrialization process, the tourist development towards the sea and the mechanization of agricultural processes progressively reduced the number of laborers needed for agricultural activities. In 1964, sharecropping was definitively abolished in Italy. The 1966 flood also demonstrated that the river was not yet fully under control. All this determined, in a rather rapid time, profound changes at a social and working level with a strong push towards the urbanization of an important part of the population. Therefore, these large structures were, one could say overnight, abandoned and now remain only as important evidence of a precise historical phase: their demolition would have a high cost and unfortunately therefore their fate, in the absence of, at the moment no conservative interventions are foreseen, it seems to be the slow degradation. I thank Dr. Piergiorgio Rossetto, a profound connoisseur of these territories and their anthropological characteristics, for the precious advice that he has generously placed at my disposal. THEY HAVE GONE The gaze of a traveler, who would like to immerse himself in the evocative atmosphere of the lower Piave, would be captured after a few kilometers by the discreet presence, in the landscape, of unusual imposing buildings integrated with unexpected material naturalness in the countryside. These are the so-called farmhouses. This ends up creating in his mind, as he progresses through these places, day after day, a sort of sensation of an awaited appointment. I lived this experience in an emotionally intense way, which went beyond documentary intent. What I have tried to tell, “illustrating” and therefore inserting a strong interpretative component, is a story, one of the many stories hidden in these border areas between land and water. As an astonished and curious observer, as I felt throughout this slow journey of discovery, I have tried to give new life to this apparently “forgotten” landscape, sometimes also using my imagination, but more often trying to grasp its coy poetry, which I wanted to try to bring out. Past lives can be guessed inside and around these monuments of a peasant reality, now extinct. Stone dinosaurs mark the territory, almost a warning not to forget those who have rejoiced, suffered and worked hard and industriously here. I therefore created images that could be defined as lively, in which however the patina of time maintains its discreet, unmistakable presence. © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali © Lorenzo Vitali The exhibition 'They Have Gone' at the Colorno Festival in Parma, Italy. As our exploration of Eastern Veneto with Lorenzo Vitali draws to a close, we are left with a profound appreciation for the landscape, history, and architecture that make this region so unique. Through his photography, Lorenzo has captured not just the physical aspects of the landscape, but also the emotional impact it has on him. We are reminded of the ever-changing nature of this region, but in Lorenzo's photographs, these structures appear as more than just monuments of the past; they are monuments of a way of life that once thrived here. As we bid farewell to this journey, let us not forget the stories and the people that have shaped this landscape and left a lasting impression on Lorenzo and all those who have had the privilege of experiencing it. They Have Gone will be exhibited from 13 October to 26 November 2023 at the Colorno Festival in Parma, Italy, in the premises of the Aranciaia of the Palace. The photos are in large format. The exhibition was curated by Paola Riccardi. view Lorenzo's portfolio Read about Lorenzo's other projects - "Sahara: The Shape and the Shadow" >>> "An Arrythmic Succession of Interrupted Pauses" >>> Read an interview with Lorenzo >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

I am a journalist and a photographer and work in a French Lebanese daily newspaper L'Orient - Le Jour. My pictures for the last three years were specially about the Coniche (Front Sea) in Beirut. I even did a book about the subject with a story (fiction) called "Le Chariot de Farah", edited in 2018 and an exhibition. I love this place, it speaks very well about this city that is passing through a lot lately. I love sceneries, skies, sea (always the sea) but with people, faces, attitudes that can give emotions. CARLA HENOUD I am a journalist and a photographer and work in a French Lebanese daily newspaper L'Orient - Le Jour. My pictures for the last three years were specially about the Coniche (Front Sea) in Beirut. I even did a book about the subject with a story (fiction) called "Le Chariot de Farah", edited in 2018 and an exhibition. I love this place, it speaks very well about this city that is passing through a lot lately. I love sceneries, skies, sea (always the sea) but with people, faces, attitudes that can give emotions. LOCATION Beirut LEBANON CAMERA/S Leica D Lux, Fuji X T1 @CARLAHENOUD FEATURES // Farah's Chariot

In my work I investigate the contrasting sensations of life, of love/lovelessness, of common walking and in a more candid way, of the workers' struggle covered with those glimpses of modernity sometimes fictitious and other times not obtained. The street was my school to a great extent and photography was a logical consequence to express myself from my memories, what I observed, what I lived and what I learned through people, history, books and poetry books. "Sijifredo", is a work of visual storytelling that rescues one of the most striking aspects of my Father (the title of the work carries his second name), which was to build parallels between episodes of his history with what he saw in a current moment of his life. This visual journey, through its color atmospheres, explores the human desire to have the possibility of staying one more day with that loved one who has died, but who has left a deep mark in terms of values and spirituality, without selfishness and without any emotional debt at the time of his departure. JANO SANDOVAL In my work I investigate the contrasting sensations of life, of love/lovelessness, of common walking and in a more candid way, of the workers' struggle covered with those glimpses of modernity sometimes fictitious and other times not obtained. The street was my school to a great extent and photography was a logical consequence to express myself from my memories, what I observed, what I lived and what I learned through people, history, books and poetry books. "Sijifredo", is a work of visual storytelling that rescues one of the most striking aspects of my Father (the title of the work carries his second name), which was to build parallels between episodes of his history with what he saw in a current moment of his life. This visual journey, through its color atmospheres, explores the human desire to have the possibility of staying one more day with that loved one who has died, but who has left a deep mark in terms of values and spirituality, without selfishness and without any emotional debt at the time of his departure. LOCATION Santiago CHILE CAMERA/S Canon EOS 700D WEBSITE http://www.janosandoval.com @JANOSANDOVAL.PHOTOGRAPHY FEATURES // Sijifredo

OUT OF THE DARKNESS Through self portraiture Abbie Briggs has truly found herself. Photography has become a healing creative outlet for her. OUT OF THE DARKNESS April 26, 2020 INTERVIEW PHOTOGRAPHY Abbie Briggs INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Abbie Briggs has been struggling with mental health issues for most of her life, but when she got her first digital camera a few years ago, she found an unexpected source of solace. Through self-portraiture, Abbie has found her own healing creative outlet and come to terms with the struggles of her past. Photography has had a positive impact on Abbie's mental health, providing her with a means of self-expression and allowing her to explore her identity in a unique and meaningful way, enabling her to find a sense of peace and purpose. Join us as we explore Abbie’s journey in her pursuit of healing through the power of photography. “Evolve or die.” A simple reminder for me to keep moving and never stop growing. I also like it because it reminds me of Lily Tomlin...and Lily Tomlin always makes me happy. I first saw the phrase on a shirt she was wearing in a portrait by Norman Seeff. IN CONVERSATION WITH ABBIE BRIGGS THE PICTORIAL LIST: Abbie, please tell us when you started getting interested in photography? ABBIE BRIGGS: Even though I've only honored it more recently, I've been drawn to photography since I was little. Reflecting back I can see that it was something always trying to grab hold of me but I just never let it. So life went on and I hit some hard times and fell into a pretty deep depression. I was basically treading water until about the end of 2017 when a DSLR fell into my lap and I started getting to know it. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Where do you find your inspiration? AB: Nature, poetry, music, other artists and photographers. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AB: I'm a big fan of Julia Margaret Cameron and the way she brought stories and poems to life in her portraits. I also adore the work of Georgia O'Keeffe and Alfred Stieglitz. Both in their own right as artists but especially with what they created together. Anna Gaskell - especially her Turns Gravity series - gives me life every time I revisit. And I have to mention Bob Dylan and Patti Smith even though they aren't known for their photography. Their influence has played a big role in making me who I am and that makes my art what it is. So, yeah, credit where credit's due and all that. TPL: Has your style of photographing changed since you first started? AB: Absolutely. It takes time to find your style, I think. I also believe it's something that can keep evolving. Growth is good. TPL: Where is your favourite place to photograph? AB: My little home studio. It's my safe space for creating self portraits. But also anywhere out in nature -- the woods, botanical gardens or the wildflower garden that grows at a local park. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AB: I am definitely not a "gear person". Personally, I'm most fulfilled by challenging myself to get creative with what I've got. When I was first starting I was blinded by the promise of new equipment but realized that giving into that wasn't necessarily helping me create anything I loved. My focus was on what I thought I needed to do it better. So I decided to simplify. I chose just one of my lenses (nifty fifty was the winner) and shot with that exclusively for about a year. During that year I focused more on studying different genres and other photographers. It really opened me up creatively. It helped me find direction for the art I wanted to create. I do have a couple other lenses that I create with, as well as some filters and stuff for when I just need to mix it up a bit (because that's good for creativity too) but these days I'm only drawn to something new when I'm feeling sufficiently ready to grow my portrait setup in some way. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AB: I think being a good observer, having a good eye goes a long way. Keeping an open mind and a willingness to keep learning have definitely helped me grow as an artist. If you're into self portraiture I'd say authenticity is key. Stay true to yourself, trust yourself. Think through your ideas and get in touch with your emotions. Then tell your story. TPL: Have you ever been involved in the artistic world before photography? AB: I've always loved creating but it's usually just for myself. Collage is something I've dabbled in for years and I play with paint once in a while. Nothing professional though. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AB: I've got some bigger ideas brewing. That's all I'll say for now. TPL: "If I wasn't photographing I like to be... AB: I love to be outside but I always have my camera when I'm outside so… reading, writing, baking, or watching something nerdy or true crime related." PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

ROLL THE DICE Greek photographer Sofia Dalamagka talks to us about her project where human existence is hiding behind every capture. ROLL THE DICE November 4, 2020 INTERVIEW PHOTOGRAPHY Sofia Dalamagka INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE We all know the feeling of loneliness. The feeling of being unseen and unheard, of being lost in a crowd of strangers, all of them going through their own struggles and joys, none of them truly noticing us. But when we look closer, we can see the secrets hidden in their faces. The feelings that cannot be voiced, the stories waiting to be told. It is this hidden beauty that Greek photographer Sofia Dalamagka seeks to capture in her work. Sofia takes us on a journey around the forgotten ports and impersonal cities of the world, introducing us to the faces of strangers who, in their own way, tell stories and evoke emotions within us. Through her lens, Sofia dives into the innermost depths of human existence and reveals the feelings hidden away beneath the surface. These are people searching for something, be it joy, recognition, or even just a way out. Connected by a shared sense of deep loneliness, they are paused in time - living and breathing in moments that will never return. For Sofia, photography is not just a profession; it is an art, a form of love that will never pass away. Her camera is her eternal mistress, and through it she invites us all to take a second look at the people who pass us by each day. To pause and reflect on their innermost thoughts and feelings, and to uncover the hidden beauty in our own lives. With her work, Sofia Dalamagka encourages us to recognise the importance of understanding one another, and to appreciate every moment that life gives us. “Photography is a way of my existence, a kind of love that does not wear out as time goes by and my camera is my eternal mistress. The only thing that I’m sure about is that I don’t want to give answers, but I want to create questions. For me, capturing a moment should create doubts. Maybe I want to do a social statement. Sometimes, I want to express all the feelings that I hide. Sometimes I want to make the viewers question themselves, provoke or to disturb them. Even give them some negative feelings because that is a way of a creating a connection with the picture you have taken.” IN CONVERSATION WITH SOFIA DALAMAGKA THE PICTORIAL LIST: Sofia please tell us about yourself. When did you start getting interested in photography? SOFIA DALAMAGKA: I started taking photographs as an amateur when I was 28 years old. It was some kind of love which still continues to give me that feeling until today. For about two to three years I took a small break. Photography was my 'saviour' when I felt totally blank inside, when I was questioning my own existence. Between falling and creativity, I consciously chose the second. I try to evolve constantly by taking lessons, seminars, certifications of courses, by reading and studying a lot, by experimenting. Many times, success flirting with failure. And that's where all the magic hides, trying to overcome yourself and your expectations! TPL: You sent us photos from your series 'Roll The Dice'. Tell us how this idea started and what you want the viewer to interpret? SD: Roll the Dice is a poem by Charles Bukowski. He is my favorite poet and writer. I read that poem every time I get desperate. That poem was the main idea for the creation of these pictures. It talks about those who lose their courage, and find many obstacles during their everyday life. I want the spectator seeing these pictures to realise that it is important to remain humane and that everyone is alone in this world going through his own everyday battles. TPL: Where do you find your inspiration to keep photographing? SD: In love, traveling, in a passing glance, in books, in the waves of the sea, in the sound of rain, in the smell of wet soil, in promises that weren't kept, in stories of lovers and friends. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? SD: Francesca Woodman and her tragic end have affected me deeply as an artist and as a woman. Nevertheless, Daido Moriyama work with his dark nightly Contrast, Saul Leiter’s poetry and Vivian Maier’s deep irony about human existence spreading through all of her work were what sculpted the way I take for real and how I try to show the meaning of what I see. TPL: Do you prefer to photograph alone or with friends? SD: I think of photography as a unique procedure where there is no space for babbling. It’s a secretive experience. If you are not a lonely wolf, you are not a photographer! Photography for me is the reflection of the photographer. An inner world emerges and becomes real through this. It deals with the irrational, the illusion and the subconscious. Photography is the memory. An experience. A persistence. A glimpse. A promise never kept. TPL: Has your style of photography changed since you first started? SD: I have changed my perspective and style since I started to work with photography and I still continue to reshape my personal perspective without to totally change the identity of my work. Change is part of my personal evolution, we shouldn’t be afraid of experimenting, of taking risks, of change in general. TPL: Where is your favorite place(s) to photograph? SD: As much as I love traveling, I believe that familiarity is what creates images with meaning, a story to tell and substance. Wherever I go I always end up taking pictures in the small by the sea village which I come from and live during winter. Mainly around the village port, where little stories are evolved, unnoticeable by others. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? SD: On the street, or outdoors in general, I really like to be unseen by people that's why I prefer a quiet mirrorless camera. I like wide frame from wide angle lenses but I usually work with the usual 50mm lens which is closer to what I can see. There are times again when I like to focus on details that might describe a whole way of life or a personal story. I love cold colors and the way mirrorless cameras show the color palette, with that vintage feeling they give you as well as the filters they offer you like black and white film. All these helped me very much to improve my portfolio by creating a project with coherence. TPL: Are there any projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SD: Lately I have been experimenting with techniques mix media and double exposure, I have been trying to connect pieces of images into one image connected harmonically and even. I would like to finally carry out the exhibition I have been working on with another 26 women participating, with the title 'Under Negotiation' which I personally revised, but unfortunately was cancelled due to the Covid-19 pandemic. It is about the existence and women psychology and how every woman gets along with her body, stereotypes, motherhood, the pressure she has to put through with our worlds social standards. I dream of my first own personal exhibition, my portfolio is in progress. I hope that I will be able to have created my own photography team where I live which will show the cultural heritage of where I live and which will give the opportunity to 'Jung' people to express through photography. TPL: Have you ever been involved in the arts before you found photography? SD: When I was a little child I would always remember my mother painting with oil paint on canvas, I still have the smell of the paint and the thinner in my memory. If I close my eyes I can hear the sound of the brush on the canvas. That was my first contact, and the most magic one, within the world of Art. I remember looking at her in awe and with childhood enthusiasm. TPL: "When I am not out photographing, I (like to)… SD: I like taking photographs either way, cause it’s an obsession, a way of existence and the way of how people see the world. I revise exhibitions, write articles about photography, read about the work of modern and classic photographers and argue with my friends if a photo is eventually good or not." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

LIFE LESSONS Never knowing what he is going to capture is what continually thrills and challenges Hugh Rawson about street photography. LIFE LESSONS April 19, 2020 INTERVIEW PHOTOGRAPHY Hugh Rawson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Hugh Rawson has been a street photographer for years, a passion that has taken him on an unforgettable journey full of unique and captivating moments. Hugh has explored the streets of London and the south-east of England, unapologetically capturing humanity and its beauty through his lens. But what is the secret to his success? Rawson believes that his experience as a primary school headteacher gives him the tools to understand and anticipate human behaviour, allowing him to capture images that may otherwise have been missed. Yet, Rawson never knows what he is going to capture, and it is this thrill of the unknown that keeps him going. So come with us as we explore the life and work of Hugh Rawson – street photographer and primary school headteacher – to learn why street photography provides equilibrium in his busy and demanding life. “Initially I was just snapping away at things that caught my eye with my iPhone and Hipstamatic - although I did have a brief flirtation with film back in the eighties. I then moved onto a Fuji bridge camera but I didn’t know what I wanted to shoot so I just shot anything and everything. For the last four years the focus has been very much on the street and still with Fuji's.” IN CONVERSATION WITH HUGH RAWSON THE PICTORIAL LIST: Hugh, where do you find your inspiration? HUGH RAWSON: I think the joy of street photography is that inspiration is all around you. However, I also think that it takes some knowledge in order too, to know where to look, and what to look at. The work of other photographers, especially the greats, is always an eye opener. I love time spent with a pile of photo books. TPL: Has your style of photography changed since you first started? HR: I suppose that I have moved away from catching almost random moments on the street to be better at catching specific moments which may be driven by an anticipated movement or by the light in a scene. TPL: Do you have a favourite place(s) to go photograph? HR: The place I keep returning to is Soho, London. It’s a happy hunting ground for me with so much going on and it’s ever changing. The South Bank and the City also have their appeal. I love shooting in France, Paris and the south are wonderful. I’m a big fan of shooting in and around cafes and bars and French culture does that so well. TPL: What is your favourite quote that resonates with you the most? HR: Wow - good question. So many to choose from so I’ll have two. “I put my brain under my pillow when I shoot. I shoot with my heart and my stomach.” - Anders Petersen. And then one from Miles Davis which is about music but can equally be applied to putting in the hours in any art form. “Sometimes you have to play a long time to be able to play like yourself." TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? HR: Sergio Larrain, Fred Herzog, Ernst Haas, Saul Leiter, Alex Webb and, of course, Henri Cartier-Bresson - but that list can change at any moment. I like the abstraction and geometry of photographers like Fan Ho, but also the surrealism of Cartier-Bresson and the humanity of Sergio Larrain. I love the layers in Alex Webb’s work and the use of colour in Herzog, Leiter and Haas. Most of the time it's like fishing in a polluted stream and all I catch is rubbish...every so often I catch a gem. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? HR: To an extent. There comes a point where you actually have to get out and shoot, rather than spend time watching reviews of gear. Any modern camera is good enough to shoot street photos. The kit available to the ordinary person today is far better than anything that Cartier-Bresson or any of the legends had yet they were able to catch incredible moments. However, most people shooting street will want to be discreet and disappear into the shadows or the crowd - not in a creepy way but so that they don’t impact upon the scene they are capturing. This means that generally they will want a small camera and lens set up. There are exceptions of course and rules are there to bend, but I’d struggle with a giant DSLR and a 400mm lens in Soho. I often shoot from the hip so a 23mm (35mm equivalent) lens is perfect for most of what I do. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone in your genre? HR: It varies hugely depending on what you want to shoot. I don’t have the patience to stand for two hours in a cold field for one image of a sunset so landscape is never going to be my thing. For street photography you have to like people, be able to empathise and, perhaps most importantly, be able to anticipate what is going to happen - be it a turn of the head followed by a kiss, or an exhalation of smoke. My advice would be get some comfortable shoes because you are going to rack up the miles; learn from the greats; go with the light; and study the people. TPL: Have you ever been involved in the art world before photography? HR: In the 1980’s I was in a band called SLAB! You can find a few tracks like “Mars on Ice” and Parallax Avenue” on You Tube. I also wrote a few stories for children and had an agent for my writing though never actually succeeded in getting anything published. It’s so important as a human being to have a creative outlet. It’s what sets us above the beasts. It keeps me on the right track. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? HR: I wish I could say there was. I’m not really a project person and in some crazy way I feel that that makes me less of a photographer. I don’t go out looking or anything specific. I just like to explore an area and see what I can catch... TPL: "If I wasn't photographing what would I be doing?... HR: Music; writing; or just out on my bike." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am a photographer, designer and producer. I have worked in several advertising agencies as a digital art director until I started a solo career and later entered photography, my great passion. I am the founder and agent of several sociocultural groups. NEGO JÚNIOR I am a photographer, designer and producer. I have worked in several advertising agencies as a digital art director until I started a solo career and later entered photography, my great passion. I am the founder and agent of several sociocultural groups. LOCATION São Paulo BRAZIL CAMERA/S Canon T3i, 80D, RP WEBSITE http://www.negojunior.com.br/ @NEGOJUNIOR_ FEATURES // A-luz-cinante