PICTORIAL STORY VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and you are left with the sensation of stepping into a dreamscape. February 23, 2025 PICTORIAL STORY photography LORENZO VITALI story MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Lorenzo Vitali, a Milan-based photographer, has built his career around the relationship between classic and contemporary visual elements. His work has been featured in exhibitions, awards, and photography journals in Italy and internationally. Lorenzo’s photographs go beyond representation; they are carefully orchestrated dialogues between light, form, and emotion. His approach is methodical yet instinctive, engaging with his subjects in a way that transforms everyday scenes into captivating visual narratives. There is a creative duality that bridges time-honored techniques with modern experimentalism. Lorenzo’s engagement with evolving aesthetics reflects an acute sensitivity to the environments he captures, reinforcing photography’s role as both an expressive and investigative medium. His project Vanishing Venice is a deeply personal exploration of the city’s architectural identity through time, atmosphere, and perception. “Venice is a place close to my heart,” Lorenzo explains. “My father was Venetian, and I often visited during my childhood and adolescence. I have never been able to photograph Venice with the eye of a tourist.” Instead, Lorenzo’s work reflects a kinship forged from his heritage, creating strong connections and a clear understanding shaped by years of observation rather than fleeting moments. The city presents structures from different architectural styles, including Byzantine, Gothic, Renaissance, and Baroque. Venice is often perceived as a city frozen in time, a place where history stands still, but Lorenzo’s images challenge that idea. He is fascinated by how architectural styles fade and transform, blending into one another over time. “For a long time now, Venice seems like it will disappear, but in the end, it is always there,” he says. “The architectural styles overlap without rules because each owner up to a century ago decided the changes independently. A lot of stylistic disorder has been created, but somehow, it all comes together into a harmonious whole of rare beauty.” Lorenzo’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. His images suggest a city in flux, where every narrow canal and weathered facade tells a story of impermanence and resilience. In doing so, he not only documents the physical evolution of Venice but also invites a broader contemplation of how cultural and historical narratives are continuously rewritten by time and change — a reimagined Venice that is at once both nostalgic and visionary. Rather than seeking out the postcard-perfect Venice, Lorenzo searches for something deeper. “I certainly don’t look for beautiful views of Venice because I take its beauty for granted,” he says. “I look for the soul of the city. Venice has many houses of poor construction next to magnificent palaces. I look at everything with the same love: poor or magnificent is irrelevant to me.” His photographic language is fluid, ecstatic, and fleeting, mirroring the impermanence of Venice itself. “My idea of Venice is certainly impermanent because it is subject to evolution. It changes continuously and has no consistency over time,” he explains. The fog, a recurring presence in his images, plays a crucial role in shaping this perception. “January is the month in which Venice seduces me the most. These photos were all taken in January in fact. The fog enhances my perception of fleetingness and mutability because it modifies the vision of the architectural masses. It helps me to express my feelings for Venice beyond the physical.” Color and light also contribute to this sense of fragility and resilience. “The chromatic tones and light in my images bring back my perception of this place as delicate and fragile, but also resilient. In my mind, I assign this identity to Venice, but I do not exclude that for others it could be different.” © 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 © Lorenzo Vitali Lorenzo Vitali’s work is a confluence of history, art, and innovation. By documenting the evolving relationship between tradition and modernity, he invites viewers to see his cities not as a static relic but as a place in constant transformation, where history and modernity coexist in a delicate balance. Vanishing Venice serves as a reminder that cities, like photographs, exist in a constant state of change — preserved in one moment, yet always moving forward. His photography redefines the medium as both a record and a reinterpretation of a changing world. view Lorenzo Vitali's portfolio Website >>> Instagram >>> The Memory of the Female Body >>> An Arrhythmic Succession of Interrupted Pauses >>> Sahara: The Shape and the Shadow >>> They Have Gone >>> 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.

IN MEMORY OF AARON RUBINO We have the great pleasure of highlighting a photographer's work that has been tucked away, and hiding in the shadows, being cared for by a friend. Recently they were offered to Gary Nolan. They trusted Gary to keep them safe and shed some light on Aaron Rubino’s photography and respect the memory of his friend. Aaron Rubino's youngest daughter has graciously shared her heartfelt sentiments about her father's legacy: Aaron Rubino worked as a professional photographer in the 1930’s through the early 1950’s. For some time Mr Rubino worked with the Associated Press in San Francisco. And subsequently joined the staff of the San Francisco Chronicle where he worked until the early 1950’s. During World War II, Mr. Rubino was in the 6th Army stationed in the San Francisco Presido where he served as a base photographer. After WWII, Mr Rubino was assigned to photograph the United Nations meetings in San Francisco. "As for rewards – my father told me that he won a prize for Cigar Photo of the year. It was a picture of Pierre Salinger, whom my father worked with in San Francisco. Mr Rubino was a very close friend with Joe Rosenthal. Mr Rosenthal was Mr Rubino’s superior at the AP and they remained good friends until their deaths. Mr Rosenthal gave me a photo of the raising of the United States Flag on Iwo Jima – the same photo that won Mr Rosenthal the Putlitzer Prize. I am still in contact with Joe’s daughter, Anne." Read the full story by Gary Nolan through the link below. AARON RUBINO IN MEMORY OF AARON RUBINO We have the great pleasure of highlighting a photographer's work that has been tucked away, and hiding in the shadows, being cared for by a friend. Recently they were offered to Gary Nolan. They trusted Gary to keep them safe and shed some light on Aaron Rubino’s photography and respect the memory of his friend. Aaron Rubino's youngest daughter has graciously shared her heartfelt sentiments about her father's legacy: Aaron Rubino worked as a professional photographer in the 1930’s through the early 1950’s. For some time Mr Rubino worked with the Associated Press in San Francisco. And subsequently joined the staff of the San Francisco Chronicle where he worked until the early 1950’s. During World War II, Mr. Rubino was in the 6th Army stationed in the San Francisco Presido where he served as a base photographer. After WWII, Mr Rubino was assigned to photograph the United Nations meetings in San Francisco. "As for rewards – my father told me that he won a prize for Cigar Photo of the year. It was a picture of Pierre Salinger, whom my father worked with in San Francisco. Mr Rubino was a very close friend with Joe Rosenthal. Mr Rosenthal was Mr Rubino’s superior at the AP and they remained good friends until their deaths. Mr Rosenthal gave me a photo of the raising of the United States Flag on Iwo Jima – the same photo that won Mr Rosenthal the Putlitzer Prize. I am still in contact with Joe’s daughter, Anne." Read the full story by Gary Nolan through the link below. LOCATION San Francisco UNITED STATES CAMERA/S mostly likely a 4x5 Speed Graphic or similar @_PHASE33 FEATURES // The Resurrection of Rubino

I have only recently started shooting during my spare time when I am not in front of a computer working as security engineer, however, I immediately realised how much I was drawn to street photography. More specifically, I am fascinated by how meaningful and mysterious the representation of the human body can be, even within the simplicity of a silhouette. The images here in this portfolio are part of an ongoing project focused on the relationship between the human and the urban environment. TOMMASO CARRARA I have only recently started shooting during my spare time when I am not in front of a computer working as security engineer, however, I immediately realised how much I was drawn to street photography. More specifically, I am fascinated by how meaningful and mysterious the representation of the human body can be, even within the simplicity of a silhouette. The images here in this portfolio are part of an ongoing project focused on the relationship between the human and the urban environment. LOCATION London UNITED KINGDOM CAMERA/S Fuji X-T3, X-Pro 3, Ricoh GR III, IPhone 11 Pro WEBSITE http://www.gettons.org @GETTONS @GETTONS FEATURES // The Urban Relationship

FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. FLUX Exploring Form, Luminescence, and Motion March 2, 2025 INTERVIEW PHOTOGRAPHY Amy Newton-McConnel INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Amy Newton-McConnel’s photography reinterprets light and movement, constructing a visual dialogue that shifts between the tangible and the abstract. Through the technique of Intentional Camera Movement (ICM), Amy disrupts conventional perspectives, using the camera as a tool for spontaneity and experimentation. Rather than capturing static moments, her work embraces fluidity, where motion dictates form, and light serves as both subject and medium. By dissolving recognizable structures, she invites the viewer to engage with images that exist beyond the constraints of literal interpretation, prompting a reconsideration of how movement shapes perception. Amy’s work has been exhibited in galleries throughout Arizona and is part of the permanent collection at Rosie’s House: A Music Academy for Children in Phoenix. Her photography has been featured previously here on The Pictorial List, and in numerous digital and print publications, including Hintology, ICM Photography Magazine, Spectaculum Magazine, Spotlight Contemporary Art Magazine, and Women United Art Magazine. These platforms have recognized her ability to push the boundaries of photographic storytelling through abstraction. Her series, ‘Flux: Exploring Form, Luminescence, and Motion’, examines the interplay of structured precision and organic unpredictability. Through controlled camera movements, she captures ephemeral moments, composing images that evoke rhythm and energy. Amy’s approach to ICM is grounded in a study of lines, textures, and colors, reshaping visual perception by merging movement and stillness into a unified composition. The blurred contours and layered tonalities in these images suggest an evolving transformation, capturing the fluid nature of time and space. By integrating ICM techniques with a focused conceptual framework, Amy constructs compositions that extend beyond the frame. Her work does not seek to depict reality but rather to reinterpret it, offering an alternative lens through which to engage with the transient nature of experience. In this interview, she discusses her artistic process, the conceptual underpinnings of ‘Flux: Exploring Form, Luminescence, and Motion’, and the role of abstraction in contemporary photography. “‘Flux’ began as an exploration of movement and transformation, without a rigid narrative in mind. I was drawn to the way shifting forms and layered textures could evoke different emotions and interpretations. As the project evolved, I found that themes of energy, fluidity, and impermanence naturally emerged, shaping the direction of the work. It was a balance between intentionality and discovery — allowing the process to guide me while remaining attuned to the emotional resonance of each piece.” IN CONVERSATION WITH AMY NEWTON-MCCONNELL THE PICTORIAL LIST: How do you define the boundary between control and unpredictability in Flux? Do you see motion as a tool to shape the image, or does it become a subject in itself? AMY: The boundary between control and unpredictability is fluid—I guide the motion, but I also embrace the unexpected. Motion is both a tool and a subject; I use it to sculpt the image, yet it also takes on a life of its own, shaping the final composition in ways I can’t fully anticipate. The interplay between these elements is what makes the work dynamic—it's about finding harmony in chaos and allowing the movement to speak for itself. TPL: In this series, how do you determine the degree of abstraction? Were there moments where the original subject remained visible, or was total transformation your goal? AMY: Total transformation was my goal in this series. I wanted to push the original subject beyond recognition, allowing form, color, and movement to take precedence over representation. The process was about dissolving the familiar and creating something entirely new — an image that exists in its own space, independent of its source. By embracing abstraction to this degree, I aimed to evoke emotion and interpretation without the constraints of a recognizable subject. TPL: ‘Flux’ suggests a dialogue between order and chaos — do you find yourself drawn more to one aspect over the other when composing your images? AMY: I find myself drawn to discovering order within the chaos. While the process of creating ‘Flux’ embraces unpredictability, my instinct is to seek structure within that movement — whether through composition, balance, or the interplay of light and form. The tension between these elements is what makes the work compelling to me. Chaos provides energy and spontaneity, but finding moments of harmony within it is what ultimately shapes the final image. 'Distended', © Amy Newton-McConnel 'Drift', © Amy Newton-McConnel 'Convergence', © Amy Newton-McConnel 'Curvature', © Amy Newton-McConnel 'Conic', © Amy Newton-McConnel 'Celestial', © Amy Newton-McConnel 'Bounce', © Amy Newton-McConnel 'Bloom', © Amy Newton-McConnel 'Passage', © Amy Newton-McConnel 'Mosaic', © Amy Newton-McConnel TPL: Light is a crucial element in ‘Flux’. How do you manipulate light sources to achieve the sense of depth and radiance in your images? AMY: I don’t manipulate the light source itself; instead, I manipulate the direction of light through my camera using intentional camera movement. By shifting the camera during exposure, I reshape how light interacts with the scene, creating a sense of depth and radiance. This technique allows me to stretch, blur, and layer light in ways that transform the original subject, emphasizing motion and energy rather than fixed form. TPL: Are there particular types of light—natural, artificial, or mixed—that lend themselves best to the visual language of ‘Flux’? AMY: For ‘Flux’, I worked exclusively with artificial light in an outdoor environment during the evening, where natural light was minimal. Artificial light lends itself well to the visual language of the series because of its intensity, directionality, and the way it interacts with movement. The contrast between light and darkness enhances the sense of depth and fluidity, allowing me to sculpt the image through intentional camera movement. This controlled yet dynamic interplay of light helps create the transformation I seek in the work. I aim to evoke emotion and interpretation without the constraints of a recognizable subject. TPL: When working on ‘Flux’, did you have a consistent technical approach, or was each image a result of experimentation and discovery? AMY: Every image in ‘Flux’ was the result of experimentation and discovery. Each movement of the camera introduced new possibilities, and I embraced the unpredictability of the results. This approach kept the work dynamic, allowing me to respond to the light, motion, and composition in the moment rather than adhering to a predetermined outcome. TPL: Were there any unexpected technical challenges in translating your vision into final images? How did you overcome them? AMY: There were no technical challenges in translating my vision into the final images—only the unpredictability of the outcome. Since ‘Flux’ was built on experimentation, I embraced the lack of control as part of the process. Rather than seeing unpredictability as an obstacle, I allowed it to guide the work, shaping each image in ways I couldn’t fully anticipate. TPL: Abstraction allows for multiple interpretations. Do you prefer viewers to approach your work with an open perspective, or are there specific narratives you hope they uncover? AMY: I want viewers to approach my work with an open mind and create their own stories. Abstraction allows for a wide range of interpretations, and I believe that the beauty of ‘Flux’ lies in its ability to evoke different emotions and thoughts in each person. Rather than guiding the viewer toward a specific narrative, I want the images to be a personal experience, allowing each individual to bring their own perspective to the work. 'Flutter'. © Amy Newton-McConnel 'Entanglement', © Amy Newton-McConnel 'Electromagnetic', © Amy Newton-McConnel 'Veined Glow', © Amy Newton-McConnel 'Whirlwind', © Amy Newton-McConnel 'Undulation', © Amy Newton-McConnel 'Symphony', © Amy Newton-McConnel 'Rebound', © Amy Newton-McConnel 'Turbulence', © Amy Newton-McConnel 'Tendril', © Amy Newton-McConnel TPL: Your work has a painterly quality, reminiscent of Abstract Expressionism. Are there particular painters, photographers, or artistic movements that inspire your approach? AMY: I am inspired by all forms of abstract art, particularly Cubism, Expressionism, and Abstract Expressionism. These movements' focus on breaking down form and conveying emotion through abstract means resonates deeply with my own approach. I draw from their exploration of perspective, color, and emotional depth, which I incorporate into my photographic process. The raw energy and freedom found in these artistic styles influence how I capture movement and transformation. TPL: How do you prepare for a shoot? Do you pre-visualize a composition, or do you let intuition guide your movements? AMY: I don’t begin with a fixed composition in mind. Instead, I experiment with different camera movements and let my intuition guide me through the process. Each shoot is a fluid exploration, where I respond to the light, motion, and energy in the moment. This approach allows for spontaneity and discovery, ensuring that each image evolves organically rather than being constrained by a predetermined vision. ‘Flux’ is not just about capturing reality but about transforming it, using intentional camera movement to dissolve familiar forms and create images that exist independently of their source. Rather than seeking complete control, Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. For her, photography is a deeply intuitive process — one that lets her lose herself in the rhythm of movement, embrace uncertainty, and discover unexpected moments. VIEW AMY'S PORTFOLIO Read Pictorial Story "Multiplicity" >>> 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.

CATCHING GLIMPSES OF LIFE Experimenting with colours, lighting and composition, Alexey Strechen catches glimpses of life on the streets of Russia. CATCHING GLIMPSES OF LIFE April 15, 2020 INTERVIEW PHOTOGRAPHY Alexey Strechen INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Gripped by a desire to capture moments in time, the Belarusian photographer Alexey Strechen has taken to the streets of Moscow with a camera in hand. Despite recently beginning his photography journey, Alexey already knows what he wants to achieve with his work: to catch a glimpse of the characters that make up the fabric of modern life. With a unique style that often creates a sense of intrigue, Alexey's photographs often leave viewers questioning the story within the frame. Follow his journey as we take a closer look at this emerging photographer and his creative approach to art. “I started taking photographs regularly quite recently, in March last year. My girlfriend made me have an Instagram account. At first, I did not know what I could upload to the network. I found photos from a trip to Italy and began to post. Then I picked up a camera and went outside to make some extra stuff. And here we go.” IN CONVERSATION WITH ALEXEY STRECHEN THE PICTORIAL LIST: Alexey, where do you find your inspiration? ALEXEY STRECHEN: Inspiration in street photography is quite simple. You just need to force yourself to go out and start taking pictures until the first one that interests you. The rest will flow like a river. TPL: You are new to photography, describe your style. AS: Over the year of experimenting with colors, lighting, and composition, my idea of photography has changed a lot. The first six months I took pictures on the Nikon D3200. The lens was catching everything that was around me. As a result, my photos were like a set of completely different pictures. Now I’m trying to find my own style. I guess I don’t like photographing just architecture, just people or just nature. I like to capture moments in the photo. The faces of the main characters in my photographs are usually hidden in whole or in part. The final photographs often turn out a little gloomy, but from this the moments become only brighter. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AS: Alan Schaller is the first person whose Instagram account I show people when they ask me this question. I am motivated by his photos. I would like to be able to develop thoughts and plots in photographs the way he does. TPL: Where is your favourite place to shoot? AS: In street photography, you’re constantly looking for new places. I like what I'm doing now in Moscow. There are many places for experimentation. This allows your photos to reach a new level. The final photographs often turn out a little gloomy, but from this the moments become only brighter. TPL: Have you ever been involved in the artistic world before photography? AS: No I haven't. TPL: Do you think equipment is important in achieving your vision in your photography? AS: Canon EOS 80D is my main content creation tool. But equipment is always in second place. This is just a tool that helps you realize your ideas. The most popular photo at the moment in my account was taken on the iPhone XR. I was afraid to continue taking pictures on Canon in such rainy weather, but I took a couple more pictures on the phone until I caught a man running across the road with an umbrella. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: Now I'm working on creation my first portrait series. Stay tuned! TPL: "If I wasn't photographing what would I be doing?... AS: I’m not a professional photographer. Photography is my hobby and only a part of my life." Experimenting with colours, lighting and composition, Alexey catches glimpses of life on the streets of Russia. Visit Alexey's Instagram to follow his journey. VIEW ALEXEY'S PORTFOLIO 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.

I have worked as a professional actor for over 30 years in theatre, film and television. And as an actor I have spent my life delving beneath the surface of a character to reveal the details of human behaviour. As a street photographer, I’m always drawn to the story I see in front of me. I'm looking for the scene, the moment of dramatic tension or the beginning, middle and end of something. Who are you? What are you doing? What has just happened? What is the story? I like to capture the moment after which nothing will ever be the same. A director once said to me about a role I was playing: “This character speaks to discover what she’s thinking.” As a photographer I think I make photographs to discover what I see. I photograph on many streets in many cities but I keep returning to make photographs at the beach. It’s here that time stops and life unfolds in unexpected ways. People reinvent and rearrange themselves when they come to the beach and suddenly a devised theatre of connection appears. I’m drawn into something that has just happened. Or is about to happen. I see the sketch of a character, a hint of a story and the joy of feeling like I understand the rest. There is a mystery conveying too much and too little in a single moment and I want to capture it. People live their best lives by the water. And I come to witness the event. MARIA RICOSSA I have worked as a professional actor for over 30 years in theatre, film and television. And as an actor I have spent my life delving beneath the surface of a character to reveal the details of human behaviour. As a street photographer, I’m always drawn to the story I see in front of me. I'm looking for the scene, the moment of dramatic tension or the beginning, middle and end of something. Who are you? What are you doing? What has just happened? What is the story? I like to capture the moment after which nothing will ever be the same. A director once said to me about a role I was playing: “This character speaks to discover what she’s thinking.” As a photographer I think I make photographs to discover what I see. I photograph on many streets in many cities but I keep returning to make photographs at the beach. It’s here that time stops and life unfolds in unexpected ways. People reinvent and rearrange themselves when they come to the beach and suddenly a devised theatre of connection appears. I’m drawn into something that has just happened. Or is about to happen. I see the sketch of a character, a hint of a story and the joy of feeling like I understand the rest. There is a mystery conveying too much and too little in a single moment and I want to capture it. People live their best lives by the water. And I come to witness the event. LOCATION CANADA CAMERA/S Fuji X100F WEBSITE http://mariaricossaphotography.com/ @MRICOSSA FEATURES // Beach Stories

Visual creation is a vital necessity for me. I see photography as an everyday exploration of daily objects in order to capture their depth and soul, despite their apparent banality. I am fascinated every time I can frame the exact moment when my subject shows its power and expression. More than the beauty of what’s in front of the lens, I am interested in its essence. I try to capture its soul, which sometimes hides in the shapes, sometimes in the color rhythms, sometimes in the structure of the material or in the battles between shadows and lights. My art gets done in idleness, I need to look away in order to see. In the series 'Home-Made Cosmos' I often use long exposure times with a close shutters. The lighting is often direct and involves the use of flashlights, infrared lamps, candles or natural light. The aim of my work is to break the daily objects' apparent banality by showing their hidden different faces, to create a moment of science fiction from the normality of things. The choice of contrast is usually very deep, also in order to shift from normal to epic. Because there’s no such thing as a banal subject. Everything speaks, if we learn how to perceive. LEONARDO CASSI Visual creation is a vital necessity for me. I see photography as an everyday exploration of daily objects in order to capture their depth and soul, despite their apparent banality. I am fascinated every time I can frame the exact moment when my subject shows its power and expression. More than the beauty of what’s in front of the lens, I am interested in its essence. I try to capture its soul, which sometimes hides in the shapes, sometimes in the color rhythms, sometimes in the structure of the material or in the battles between shadows and lights. My art gets done in idleness, I need to look away in order to see. In the series 'Home-Made Cosmos' I often use long exposure times with a close shutters. The lighting is often direct and involves the use of flashlights, infrared lamps, candles or natural light. The aim of my work is to break the daily objects' apparent banality by showing their hidden different faces, to create a moment of science fiction from the normality of things. The choice of contrast is usually very deep, also in order to shift from normal to epic. Because there’s no such thing as a banal subject. Everything speaks, if we learn how to perceive. LOCATION Prague, CZECH REPUBLIC CAMERA/S Canon EOS Mark V, Canon EOS 33 @LEONARDOCASSI.PHOTO FEATURES // Homemade Cosmos

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

PICTORIAL STORY THE LUMBER YARD Back in her hometown in Alabama, Leigh Ann Edmonds joins her family’s lumber yard, not just to work but to observe and document. Through this project, she reflects on heritage, hard work, and the strength of the community that raised her. December 22, 2021 PICTORIAL STORY photography LEIGH ANN EDMONDS story LEIGH ANN EDMONDS introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link We are often in search of what will make us happy in life. We go to faraway places, see and try many new and different things, meeting interesting people along the way. All of these experiences help us determine who we are, and where we feel we have a place of belonging. We often make meaningful connections in life that not only surprise us but allow us to grow and understand things in ways we never expected. Leigh Ann Edmonds is a woman with many talents pulling her in interesting directions both personally and professionally. Leigh Ann is a successful photographer running her own photography business and getting paid for the kind of photography she was finding little inspiration in. Leigh Ann was frustrated with that type of work and decided to close her photography business and concentrate more on her documentary work, and to go back home to her roots to work in her family's business, a lumber yard in northern Jefferson County, in the state of Alabama. For Leigh Ann, coming home was more rewarding than she ever thought possible. Reconnecting with her family and personally working with the people in her community on a day-to-day basis, has given Leigh Ann valuable insight and a genuine understanding of the integral role her family business plays in the building of a stronger and better community. Leigh Ann has made lasting meaningful relationships with her family and rewarding inspiring connections to her community. These photographs depict Shaw Building Supply, and the family and workers that are building a better place for the people of Jefferson County and surrounding communities to live and work in. When I decided to join the family business back in 2015, I wasn’t sure how I felt about it. For so long, I had not shown an interest with the small family building supply and my knowledge base and skills had been solely in photography for the past fifteen years. My focus was more on the outside world, travels, chasing what life had to offer and always thinking about life outside of my hometown. I went to school for photography, my first job out of university was in photography, I even started my own photography business back in 2006 where I was a freelance photographer for family portraits and weddings. But all this seemed to have changed overtime as my love of photography faded. My business grew and with that came more demands. My creativity diminished as bookings increased and I felt that I had become a generic portrait photographer, photographing individuals dressed in their Sunday best, smiling pretty for their photographs. I felt that my images lacked depth and purpose, and I easily grew bored of this redundancy...so I wanted out. Leaving a successful photography practice to work at the lumber yard seemed to many individuals a step back with my career. But it was the complete opposite. And therefore, I feel life has more purpose now than it did when I was only a photographer. It all started well before I was ever born when my grandfather moved to Birmingham in the 60s from a small sharecropping town in Pickens County, Alabama. Work was hard to find in the countryside if you wanted to do more than farm. He found work at Hays Aircraft over by the Birmingham airport but was eventually laid off. During this time, my grandfather used this as an opportunity to create a new path for him and all of his family for generations to come. The family business, Shaw Building Supply, started back in 1974. My grandfather and his two young sons (my dad and uncle) saw a need for this industry up in the northern Jefferson County of Alabama. The city of Mount Olive was growing as many families were moving out of the city and into the neighboring communities. They all had experience with construction and after much thought, they felt the time was right to plant roots in this small town just 12 miles north of the city of Birmingham. So, he and all the family moved out of the city and into a small, quaint community that has now been home to the Shaw family for over four generations now and counting. My grandfather passed away when I was just 11 years old, leaving the company to my dad and with the recent passing of my grandmother just a month ago, I found myself reflecting on their life and legacy that they left behind for their children and their children’s children. And this is when I found that what I am involved in now has much deeper meaning than all the years of me having my own photography company. This family business has given the family a bond of working together, reliance on another and has helped keep us close within the community. Without it, it’s crazy to think how scattered about all our family would probably be. The lumber yard has saved me in so many ways, not only has it provided a good life for me and all of the family it also helped to keep me working during the lockdown of 2020 with the outbreak of COVID-19. This job was essential whereas if I had only been a photographer, I would have not been able to keep work. Over the years I have noticed the value in small businesses within a community. It provides not only a service to the locals but also a place for employment who may not always want to commute to the larger cities. In a way, I feel it not only helps bring my family together but the community together as well. The lumber yard has a lot of character that makes it different than the bigger box stores such as Home Depot and Lowes. The small business has years of charm to it with the old nail bins to the mounted largemouth bass hanging on the wall of my dad’s office and a small coffee station where several of the regulars gather around in the mornings to discuss local happenings and petty gossip. Over the years I have taken note that it is more than just a business but also a gathering place for locals who enjoy their morning cup of coffee that the big box chain stores will never have. There is personality here and I feel that is what is lacking in the big department stores. The lumberyard is my favorite location to shoot with the business. This is where I find most inspiration with the local lumberyard dog, named Tramp, to the sounds of forklifts carrying heavy loads of treated pine lumber. The work is hard and over time, I began to take notice how important it is for people to still work with their hands, outside in the extreme heat and humidity through the cold, rainy and wet winter months. The men in the lumberyard stood out to me in many ways as there were both older and younger generations of workers, not scared of manual labor. I didn’t know many of their names when I started working at the company and felt guilty for not having been more involved. I didn’t want to be known as the owner’s daughter who hid away in the office. I wanted to get out and speak with them, let them know that I truly appreciated and noticed their hard work and efforts. When I first started bringing my camera to work, the employees seemed to run from me and avoid wanting to have their picture taken. It wasn’t until one of the employees saw an image, I had printed that they realized these were not the posed formal photos that they were used to seeing. So, I feel after that, they didn’t run from me anymore. I didn’t know what I wanted to capture but I did feel inspired through the hard work of the employees, and I found myself wanting to document the lumberyard more often. My favorite time to photograph the employees was first thing in the morning when they would be loading trucks and getting ready for the workday. This was the least busy time, and it allowed me to capture the workers in their element without distractions of customers. I didn’t fully start to focus on the lumberyard series until 2020 when I started to focus on doing some of my own photography projects for me. I had been burnt out of photography for such a long time that I did not have a desire to pick up my camera without it feeling like work. This time, it felt more like I was shooting for a purpose again. Not those pretty, dressed up, perfect smiling family photos I had become accustomed to in years' past. This was real life, nothing pretentious and planned. Photographing the lumberyard not only helped inspire me with my photography again but it also allowed me to have a better understanding of the employees and the work that is involved as well as connect me to my family and community that I had been removed from for many years. I also feel that it is a way for others to hopefully find some insight into manual labor and the importance of it. My job at the family business is in their flooring department. It is a good balance for me as I feel that working in a different industry other than photography has given me more job skills to work with. Working in the flooring department still allows me to book photography sessions, but it also allows me to not feel the need to book every inquire I have. I feel working in this environment has allowed me to find balance with my creativity, with my family and with my work and community. There are many individuals who I deal with daily that may not ever know that I’m a photographer and then there are many individuals who only know me as a photographer. It’s kind of fun having the ability to wear two hats. © Leigh Ann Edmonds © Leigh Ann Edmonds © Leigh Ann Edmonds © Leigh Ann Edmonds © Leigh Ann Edmonds Yard manager, Jason Dupree, takes a quick smoke break before starting his work day. © Leigh Ann Edmonds © Leigh Ann Edmonds Long-standing employee, Steve Dyess, hired back in 1988 drives the delivery trucks to job sites. © Leigh Ann Edmonds New hire, Jerry Crane, a forklift operator and driver in the process of unloading treated pine lumber. © Leigh Ann Edmonds A local neighborhood dog, Tramp, visits the Building Supply 7 a.m. sharp to greet the workers. © Leigh Ann Edmonds Tramp greeting forklift operator, Tristan, first thing in the morning. © Leigh Ann Edmonds The fire barrel helps keep the back lumber yard employees warm in the winter months. © Leigh Ann Edmonds © Leigh Ann Edmonds © Leigh Ann Edmonds Leigh Ann Edmonds has demonstrated the power of a return to one's roots and the positive impact it can have on both the family and the community. Her story is one of hard work, dedication, and the importance of community. As Leigh Ann has shown, there is much to be gained by forging meaningful relationships with the people and businesses in our local communities, and it is up to each of us to take the initiative and get involved. Let us all strive to build strong and vibrant communities by taking part in local initiatives, supporting small businesses, and striving to make a positive change. view Leigh Ann's portfolio Read an interview with Leigh Ann >>> Read the story "TURNING NEGATIVES INTO POSITIVES" >>> 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 >>> 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. 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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 am a Kenyan photographer based in Nairobi. I grew up in the Kibera area of Nairobi and among my photographic projects are strong documentary photographs about a resilient strong community with a lot of challenges. I first picked up photography as head of the journalism club of my secondary school. My photographs focus on real life, and portraits of people around me. ANWAR SADAT I am a Kenyan photographer based in Nairobi. I grew up in the Kibera area of Nairobi and among my photographic projects are strong documentary photographs about a resilient strong community with a lot of challenges. I first picked up photography as head of the journalism club of my secondary school. My photographs focus on real life, and portraits of people around me. LOCATION Nairobi KENYA CAMERA/S Canon 5D mark ii, Canon 700D WEBSITE https://sadatphoto.com/ @SADATPHOTOSTORIES FEATURES // Resilience Zainab the Super Farmer Portraits of Africa

I was born in New York City where I have spent most of my life. I had a career in clinical psychology, psychoanalysis and university teaching. Just before my 70th birthday I began taking photography classes at The International Center of Photography. I developed a strong interest in candid street photography. Now, thirteen years later, I have been in over eighty group exhibitions, have had four solo shows and have won a number of awards, such as 1st place in the Soho Photo Gallery National Competition in 2015. I was a finalist in the Miami Street Festival in both 2017 and 2018 and Streetfoto San Francisco in 2018. In 2019 I was the winner of both the PDN 'FACES' Awards for self-portraits and the Street Division of the Pollux Awards. I was also a finalist in The London Street Photography Festival. Most recently I was the winner of the 2020 6th Annual Street Shooting Around the World Exhibition at the Los Angeles Center of Photography for best individual photograph. Additionally, in 2020, I was the 3rd Place Winner of Lens Culture Streets. ​My work has been featured in Popular Photography Magazine. PAUL KESSEL I was born in New York City where I have spent most of my life. I had a career in clinical psychology, psychoanalysis and university teaching. Just before my 70th birthday I began taking photography classes at The International Center of Photography. I developed a strong interest in candid street photography. Now, thirteen years later, I have been in over eighty group exhibitions, have had four solo shows and have won a number of awards, such as 1st place in the Soho Photo Gallery National Competition in 2015. I was a finalist in the Miami Street Festival in both 2017 and 2018 and Streetfoto San Francisco in 2018. In 2019 I was the winner of both the PDN 'FACES' Awards for self-portraits and the Street Division of the Pollux Awards. I was also a finalist in The London Street Photography Festival. Most recently I was the winner of the 2020 6th Annual Street Shooting Around the World Exhibition at the Los Angeles Center of Photography for best individual photograph. Additionally, in 2020, I was the 3rd Place Winner of Lens Culture Streets. My work has been featured in Popular Photography Magazine. LOCATION New York USA CAMERA/S Sony A9II, Leica M10 WEBSITE https://www.paulkessel.com/ @STREETSKESSEL FEATURES // Hauptbahnof

Image making is what I live for. I create both in visual images and words. My creative process is a process that has evolved out of failure. That is to say, a failure to neatly fit into any specific genres that I have tried out. When I am fortunate, images and words complement each other. They exist together as one complete expression. Embracing chance leads to happy accidents. Repetition leads to style and then boredom. Boredom leads to experimentation. The process begins as clumsy missteps and moves into something akin to dance. I call myself a backward painter. Unlearning grammar. Skirting the edges. Curiosity as currency and camera as paint brush. My works explore the areas of the mind that tend to get lost in the everyday rational thought. They represent the gaps between thoughts and words. Those areas that don’t easily translate into proper grammar. It has been through unlearning the rules that I have been able to find a medium to communicate. I emerge in the middle of my story. LEANNE STAPLES ! Image making is what I live for. I create both in visual images and words. My creative process is a process that has evolved out of failure. That is to say, a failure to neatly fit into any specific genres that I have tried out. When I am fortunate, images and words complement each other. They exist together as one complete expression. Embracing chance leads to happy accidents. Repetition leads to style and then boredom. Boredom leads to experimentation. The process begins as clumsy missteps and moves into something akin to dance. I call myself a backward painter. Unlearning grammar. Skirting the edges. Curiosity as currency and camera as paint brush. My works explore the areas of the mind that tend to get lost in the everyday rational thought. They represent the gaps between thoughts and words. Those areas that don’t easily translate into proper grammar. It has been through unlearning the rules that I have been able to find a medium to communicate. I emerge in the middle of my story. LOCATION New York UNITED STATES CAMERA/S Fuji X100 V, Fuji X Pro 3, Nikon FE 2, Polaroid 600 WEBSITE https://www.shootnewyorkcity.com/ @SHOOTNEWYORKCITY @LEANNEMSTAPLES FEATURES // ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us.