I am a Franco-British photographer currently living near Reims in France. I started out photography back in the early 80’s after reading French literature at University. In my early days, I mostly tried to capture street type pictures, in London, where I was living at the time. I was hugely influenced by some of the top documentary photographers at the time such as Don McCullin, W. Eugene Smith, Elliot Erwitt, Bruce Davidson, Henri Cartier-Bresson, and spent my time wandering the streets looking for pictures. I quickly realised if I was to work in photography, I would have to move into more general photojournalism. Thus, from the mid 1980’s, I started working for a number of newspapers and agencies in London, before joining Reuters News Agency as a staff photographer in Paris in 1987. Here I covered many local and international stories for over 15 years. Since leaving Reuters, I have started to shoot my own long-term projects, documenting the region in France where I live in black and white. GARETH WATKINS I am a Franco-British photographer currently living near Reims in France. I started out photography back in the early 80’s after reading French literature at University. In my early days, I mostly tried to capture street type pictures, in London, where I was living at the time. I was hugely influenced by some of the top documentary photographers at the time such as Don McCullin, W. Eugene Smith, Elliot Erwitt, Bruce Davidson, Henri Cartier-Bresson, and spent my time wandering the streets looking for pictures. I quickly realised if I was to work in photography, I would have to move into more general photojournalism. Thus, from the mid 1980’s, I started working for a number of newspapers and agencies in London, before joining Reuters News Agency as a staff photographer in Paris in 1987. Here I covered many local and international stories for over 15 years. Since leaving Reuters, I have started to shoot my own long-term projects, documenting the region in France where I live in black and white. LOCATION FRANCE CAMERA/S Fuji Xpro 1 & 2 WEBSITE http://www.gwenllyn.com/ @GARETHWATKINS02 FEATURES // Les Francais

WITH AN OPEN LENS AND HEART Pavieł Hančar finds the beautiful and uplifting where it is not visible at first glance, approaching life with an open lens and heart. WITH AN OPEN LENS AND HEART July 2, 2021 INTERVIEW PHOTOGRAPHY Pavieł Hančar INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The stunning work of Pavieł Hančar captures the beauty of everyday life in Belarus. With an open lens and heart, he approaches his photography with an unassuming, monochromatic style. He chooses to view the world through the eyes of a beginner, allowing for true moments of revelation to be revealed in his work. Through his breathtaking shots, Pavieł seeks to demonstrate that beauty can often be found in the most unexpected places. His unique approach to photography allows him to capture the spirit and soul of the people he photographs, creating vivid and moving images that will captivate any viewer. With a passion for capturing life’s beauty, Pavieł Hančar is an exceptional documentary and street photographer whose work will remain timeless in its appreciation of the world around us. “I really appreciate my amateur status in photography - it allows me not to put pressure on myself and not to burn out. Really, nothing bad will happen if I return from a walk without a good shot. An editor will not shout at me, colleagues will not look reproachfully…But it allows me to go shooting as if I am doing it for the first time: without guarantees, without impudence, without prior vision of the results. In this particular state, when you are just a conductor of God's will, not a hunter, in my opinion, you let the best pictures happen. At least, I strongly believe in it.” IN CONVERSATION WITH PAVIEŁ HANČAR THE PICTORIAL LIST: Paviel please tell us about yourself. Talk to us about your work and life in Minsk. When and how did you become interested in photography? PAVIEŁ HANČAR: I was born in the small Belarusian town of Naroulia, on the banks of the Pripyat River, 49 years ago. My family and I now live in a village near Minsk, I work as the executive director of a group of IT companies, and in fact, I do not have much time for photography, but I always carry a camera with me, and it works from time to time. I have been photographing since childhood, and my father, who took our family photos and had a full set of equipment for the "dark room", once instilled interest in me. He gave me my first camera, it was a semi-format "Chajka" with 28mm Industar lens, and I was absolutely fascinated by miniature sharp negatives that I could look at for hours. Many years later, photography came back to my life when I already had a son too. One day, taking a camera with me when leaving home, I made an almost random shot in the building of the former monastery, which now houses a music school. Then for a long time I could not take anything better by form and content. That time, it made me realize what I was interested in and what I was going to do as a photographer. The story happened almost 20 years ago, the frame was not lost, I kept it at the bottom of my Instagram page as a memory. TPL: You seem quite interested in documenting traditional customs and arts in your country. What is is that you find especially interesting about that? PH: People. It is there that I meet most of "my" people, loved in Belarus, smart, beautiful, passionate about the common cause. It is my job to take photos of them as best I can, and, hopefully, an atmosphere of folklore festivals is usually conducive to good pictures. TPL: In general regarding your photography, where do you find your inspiration to create? PH: As a professional manager I am very sensitive to everything that concerns motivation. So I try not to manipulate and don’t look for inspiration on purpose. I really appreciate my amateur status in photography - it allows me not to put pressure on myself and not to burn out. Really, nothing bad will happen if I return from a walk without a good shot. An editor will not shout at me, colleagues will not look reproachfully… But it allows me to go shooting as if I am doing it for the first time: without guarantees, without impudence, without prior vision of the results. In this particular state, when you are just a conductor of God's will, not a hunter, in my opinion, you let the best pictures happen. At least, I strongly believe in it. TPL: Do you have a favourite place to photograph? PH: I do not know what to do with the answer to this question, but the best pictures in the last couple of years I took in Zaslauje - a small town near Minsk. I didn’t analyze why, just so it turned out, it’s a good place with good people. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PH: Yes, I have. I love French humanist photographers, but the most - Edouard Boubat, in whose work I find exactly what touches me, and I feel it closest to my worldview. Yes, he may not be as noble a master of composition as Cartier-Bresson, not the author of hundreds of iconic street photos like Doisneau, but I really like the modest poetics and tenderness in his shots. And, like him, I realize I am "a kind street photographer". I do not need a frame for which I would need to insult a person or expose him in a bad world. Really, don't. I am definitely a 50mm person, I have this “frame” in my mind when I look around without a camera. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. PH: Definitely, the second way. Yes, I can choose the best location, the right light, the most interesting characters, but none of that guarantees a great shot as a result. Professional one - yes, usually it does. But really great shots are the gifts. And if you are worthy of the gift, you will receive it. It may seem like an ineffective strategy, but in real life - on the contrary, the most beautiful shots are brought by such an approach. 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? PH: Yes, I need restrictions for not thinking about equipment. I lived for 10 years with a Rolleiflex 2.8F, and it was enough for everything I did. Now the same role is played by Leica Monochrom. I'm sure I'll take "my" shots with this camera, I'm pleased to have it with me every day, and I know that I will be happy with the result. As for the lens, it is always a painful topic to choose: 50 or 35mm. Despite the greater versatility of the second, I am definitely a 50mm person, I have this “frame” in my mind when I look around without a camera. And as for resulting prints, I prefer the natural perspective of 50mm, they can be entered by sight as if in a window. I don’t get the same feeling from wide-angle shots. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? PH: There, on a walk, a grateful observer, or a grandfather who photographs his first grandchildren. Hopefully a happy guy in both guises. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PH: Yes, I recently joined an interesting ethnographic project as a volunteer. The project is called Shtetlfest and is dedicated to finding the remains of Yiddish culture in Belarusian, Ukrainian and Polish towns. This is what I used to see in my childhood, and what makes Belarus distinctive, whose people have always been famous for their tolerance of different cultures. Hope this will be an interesting experience. Maybe good shots will be too. TPL: “When I am not out photographing, I (like to)… PH: Read. Contemporary fiction in the Belarusian language is my second passion after photography. You may have heard how miserable the state of my Belarusian language is in Belarus after more than 200 years of planned Russification, which is still going on by the ruling regime for certain economic benefits. I try to support the publication of books in the Belarusian language, participate in crowdfunding, and above all, I am a grateful reader for Belarusian authors. Literature that is born from your life, in which there is a pulse of events that excite you, is much sharper and more interesting than a classic, no matter how good it is. Practically like photography!” Pavieł finds the beautiful and uplifting where it is not visible at first glance, approaching life with an open lens and heart. Connect with Pavieł on Instagram to see more of his inspiring photography. VIEW PAVIEŁ'S PORTFOLIO Read JURJEVO by Pavieł 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.

There is a freedom in outward expression. Amplified by the year spent indoors hiding from a deadly virus, freedom, beginning in the Spring of 2021, took on a distinctive aura: a bold, colorful one. There was a vibrancy, a specific mix of joy, defiance, morality, kindness, and a bit of despair, that I like to think was tinged with hope. Underneath the dyed hair and accessories, tattoos, and thigh high boots, stands someone’s son, someone’s daughter, a human with hopes and vulnerabilities. While we’re all trying to find our way in the world, the beauty of these people is in their self-expression. The people here seem to unabashedly bare and present themselves to the world. They tell their truth and what could be more beautiful? What ultimately propels me to ask, “Can I take your portrait?” is a warmth I sense, something soft underneath the shell. Taking these portraits, I get inside, even if only for a short while. Interacting with these individuals, with their persistent youthful energy, I find myself both stimulated and grounded. Perhaps these young people can sense I’m a mother, allowing them ease and comfort when interacting with me. On one occasion, a young person asked me for a band aid, perhaps rightly pegging me as a “nurturer.” Maybe that’s why most comply when I ask for a portrait. I’ve raised three children, now adults, in the homogenous New Jersey suburbs. Individuality and distinctiveness were a rarity there and perhaps that’s why I now document those on the cusp of adulthood in New York City, one of the most culturally diverse in the nation. One of the more interesting things I’ve found is how quickly a connection can be formed between two strangers, with the camera’s lens serving as a conduit. So, when I begin shooting, I direct people by saying, “Okay, look in my eyes, and whatever you do, don’t smile.” Oddly, these words seem to put people at ease. AMY HOROWITZ There is a freedom in outward expression. Amplified by the year spent indoors hiding from a deadly virus, freedom, beginning in the Spring of 2021, took on a distinctive aura: a bold, colorful one. There was a vibrancy, a specific mix of joy, defiance, morality, kindness, and a bit of despair, that I like to think was tinged with hope. Underneath the dyed hair and accessories, tattoos, and thigh high boots, stands someone’s son, someone’s daughter, a human with hopes and vulnerabilities. While we’re all trying to find our way in the world, the beauty of these people is in their self-expression. The people here seem to unabashedly bare and present themselves to the world. They tell their truth and what could be more beautiful? What ultimately propels me to ask, “Can I take your portrait?” is a warmth I sense, something soft underneath the shell. Taking these portraits, I get inside, even if only for a short while. Interacting with these individuals, with their persistent youthful energy, I find myself both stimulated and grounded. Perhaps these young people can sense I’m a mother, allowing them ease and comfort when interacting with me. On one occasion, a young person asked me for a band aid, perhaps rightly pegging me as a “nurturer.” Maybe that’s why most comply when I ask for a portrait. I’ve raised three children, now adults, in the homogenous New Jersey suburbs. Individuality and distinctiveness were a rarity there and perhaps that’s why I now document those on the cusp of adulthood in New York City, one of the most culturally diverse in the nation. One of the more interesting things I’ve found is how quickly a connection can be formed between two strangers, with the camera’s lens serving as a conduit. So, when I begin shooting, I direct people by saying, “Okay, look in my eyes, and whatever you do, don’t smile.” Oddly, these words seem to put people at ease. LOCATION New York UNITED STATES CAMERA/S Nikon Z7 WEBSITE https://dontsmilenyc.com/ @DONT_SMILE_NYC FEATURES // The Authentic Gaze: The Don't Smile Project

I am a self-taught photographer. I am a curious girl living in my own ideal world of infinite possibilities, I’m the eternal daydreamer! What attracts me about photography is its visionary and its super power to go beyond reality. In this way it teaches me to “look harder” at people, things and situations, enriching my natural curiosity: I think that’s why it fits my personality so well. The photos shown here are from my project “Vitamin Sea” that I started out some years ago. It’s an ongoing, personal project that I keep on adding to every summer when I get back to Barletta, my hometown in the South of Italy, where my parents still live. The aim of this project is to portray the positive interaction between people and the sea in a beach environment. My sea is a lively place, a bright place of joy. A sort of natural supplement of vitamin, the “vitamin sea”, able to recharge one’s personal batteries like nothing else, ready to make you feel alive again, and full of energies. So, with that in mind, I tried to capture with my camera that playful and happy co-existence, observing people’s behaviour, looking for the impromptu geometries created by pure chance, highlighting this cheerful intercourse. ROSAMARIA FILOGRASSO I am a self-taught photographer. I am a curious girl living in my own ideal world of infinite possibilities, I’m the eternal daydreamer! What attracts me about photography is its visionary and its super power to go beyond reality. In this way it teaches me to “look harder” at people, things and situations, enriching my natural curiosity: I think that’s why it fits my personality so well. The photos shown here are from my project “Vitamin Sea” that I started out some years ago. It’s an ongoing, personal project that I keep on adding to every summer when I get back to Barletta, my hometown in the South of Italy, where my parents still live. The aim of this project is to portray the positive interaction between people and the sea in a beach environment. My sea is a lively place, a bright place of joy. A sort of natural supplement of vitamin, the “vitamin sea”, able to recharge one’s personal batteries like nothing else, ready to make you feel alive again, and full of energies. So, with that in mind, I tried to capture with my camera that playful and happy co-existence, observing people’s behaviour, looking for the impromptu geometries created by pure chance, highlighting this cheerful intercourse. LOCATION Milan ITALY CAMERA/S Nikon D750 WEBSITE http://www.rosamariafilograsso.com @DAGUERREOLIFE FEATURES // Vitamin Sea

I am a Brooklyn based photographer who shoots for advertising agencies, editorial clients and on the streets of New York. I began my career as an art director in New York City with a passion for photography. After taking a workshop at the International Center Of Photography, I took to the streets of New York City to capture everyday life. My work has been exhibited at the International Center Of Photography, the Annual Women Street Photographers exhibit in NYC 2020, Art On The Ave NYC 2020, the Women Street Photographers Inaugural Virtual Exhibition 2021, the 2nd Women Street Photographers Virtual Exhibition 2021. Currently my work is part of the Women Street Photographers Exhibition in Villahermosa, Tabasco, Mexico at the National Museum of Anthropology. I have been recognised by Spectaculum Magazine, Street Photography Hub (Street Finder), The Pictorial-List, and La Calle Es Nuestra. This is an ongoing series of portraits taken on the boardwalk at Coney Island. I love that Coney has come back to life this summer after having been partially shut down due to COVID-19 last year. It brings me such joy to meet and photograph these vibrant characters as I roam the boardwalk. Coney truly is a paradise for portrait photography. It never disappoints. CAROL DRONSFIELD I am a Brooklyn based photographer who shoots for advertising agencies, editorial clients and on the streets of New York. I began my career as an art director in New York City with a passion for photography. After taking a workshop at the International Center Of Photography, I took to the streets of New York City to capture everyday life. My work has been exhibited at the International Center Of Photography, the Annual Women Street Photographers exhibit in NYC 2020, Art On The Ave NYC 2020, the Women Street Photographers Inaugural Virtual Exhibition 2021, the 2nd Women Street Photographers Virtual Exhibition 2021. Currently my work is part of the Women Street Photographers Exhibition in Villahermosa, Tabasco, Mexico at the National Museum of Anthropology. I have been recognised by Spectaculum Magazine, Street Photography Hub (Street Finder), The Pictorial-List, and La Calle Es Nuestra. This is an ongoing series of portraits taken on the boardwalk at Coney Island. I love that Coney has come back to life this summer after having been partially shut down due to COVID-19 last year. It brings me such joy to meet and photograph these vibrant characters as I roam the boardwalk. Coney truly is a paradise for portrait photography. It never disappoints. LOCATION New York UNITED STATES CAMERA/S Leica Q2 WEBSITE https://caroldronsfieldphotography.com/ @CAROLDRONSFIELDPHOTOGRAPHY FEATURES // On the Boardwalk Making a Splash: with the Coney Island Polar Bears Taking the Plunge: with Carol Dronsfield and The Coney Island Polar Bears

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 CHILE CAMERA/S Canon EOS 700D WEBSITE http://www.janosandoval.com @JANOSANDOVAL.PHOTOGRAPHY FEATURES // Sijifredo

PICTORIAL STORY SKIN STORIES In his latest project, Tony Reddrop looks past the ink etched on skin to uncover the stories that lie beneath. For him, tattoos are just the surface — what truly matters is the life, history, and individuality each person carries within. August 23, 2023 PICTORIAL STORY photography TONY REDDROP story TONY REDDROP introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link We are incredibly fortunate to live in a world full of stories - fascinating tales of people, places and passions that create the ever-evolving fabric of our lives. And while some stories pass by in the blink of an eye, others remain with us for a lifetime. Meet Tony Reddrop, a photographer whose creative journey knows no boundaries. Raised in Melbourne, Australia, Tony has made New Zealand his home for the past 14 years. Passionate about photography, Tony is dedicated to exploring and capturing the stories of those around him. Tony has dedicated himself to exploring and capturing the people and places within his own environment - a small city called Palmerston North in New Zealand’s lower north island. He is an artist who is always on the lookout for meaningful projects - works that challenge us to look further into the story that lies behind the images. From creating powerful street portraits to documenting a small Greek Orthodox community for two years, Tony is always on the lookout for new and exciting projects limiting himself to using just one mirrorless camera with two prime lenses with settings at either f2.8 or f2.0, and only using available lighting. Tony’s journey into photography began later in life, and his eight-year break from the artform has allowed him to come back with a fresh perspective and a more developed eye. His slow process of taking time to observe and think before taking a photograph is something that works for him and gives his work an extra level of depth and meaning. Tony has been working on an ongoing series of portraits documenting the people and stories behind their tattoos. His project speaks to him on a deeply personal level as he strives to look beyond the ink, believing that by looking beyond the physical appearance of a person and into their unique story, we can gain a better understanding of who they are and why they have the tattoos they do. This series has allowed him to gain insight into a new community and form some incredible connections along the way. I have always been intrigued by tattoos as an art form, but my fascination has gone further than that - I'm curious about the stories behind the people who have them. What inspired them to get inked? Is there a particular tattoo that has a deeper meaning? To create a powerful visual, I envisioned a series of portraits that had the same aesthetic while each individual tattoo held its own strength. Furthermore, I wanted the portraits to tell the story of the journey that each individual took to be there, enhancing the strength of the overall series. I originally knew a few people with tattoos, but it was an art exhibition at a friend's gallery called The Swamp that exposed me to a vibrant tattooed community. Through word of mouth and the help of friends, I began to connect with people and photograph them. This series is about more than just presenting beautiful artwork on bodies; it’s about discovering the stories behind the people who are tattooed and understanding their individual journeys. I hope this series can help others to look beyond the artistry of tattoos and gain insight into the lives of those who choose to decorate their skin. This project is still going strong and it's on its own journey, much like the people I've already captured. 'James' - tattoo artist, strong man competitor, vegan, and non-drinker. © Tony Reddrop 'James 2' © Tony Reddrop 'Melsa' - Ko Melsa taku ingoa. "I am a non-binary trans parent, partner, and artist from Te Papaoiea. I have always felt like the body I was in was never really mine. Every time I get a tattoo, I feel like my body becomes more comfortable, and as though I am decorating the walls of my home. I've collected tattoos that are memorials, tributes, stories, or just stupid shit that I liked. I don't imagine myself ever really stopping getting tattooed." © Tony Reddrop 'Natalie' - “My favourite tattoo is a character I admire from a favourite novel of mine, Dune by Frank Herbert. It's of a Bene Gesserit warrior. The Bene Gesserit are ancient and adept organisation, an exclusive sisterhood whose members train their bodies and minds through years of physical and mental conditioning to obtain superhuman powers and abilities that seem magical to outsiders. Their leading mantra and meditation being "Fear is the mind killer". Why did I get tattooed? Because I find the concept of such a badass female organisation inspiring, and I feel empowered having those words on my skin.” © Tony Reddrop 'Katie Mac' - “My first tattoo was to cover scars. I was totally sucked in and began to get more. Getting tattooed became a sort of therapy for me. There was nothing more uplifting and rewarding than getting through a session and walking away with an awesome new lifelong decoration. That always felt, and still does feel, so real. To now be tattooing others and in the thick of my apprenticeship is completely surreal. It feels so giving and I'm so thankful I get to do that for people and send them off with their new decoration. To this day if I feel like shit a tattoo always sorts me right out.” © Tony Reddrop 'Georgie and Stevie' - “I started getting tattooed because I had friends doing it and I thought it looked cool. Now it’s a part of who I am, my family and our identity. I want Stevie to grow up with a mum who’s confident in her own skin and is unapologetically herself, that’s now where I see the beauty in the work, I have on me and why I’ll continue to get tattooed.” © Tony Reddrop 'Josh' - a friend to Gareth and Gorgie. © Tony Reddrop 'Jake' - “So in the beginning tattoos to me had to have 'meaning behind them' whether that be a name of a passed family member or pet etc. As I grew older so did my love for art and the collection of it. Once social media really took off it opened the door to browse at tattoo artists throughout New Zealand and the urge to collect their art in the form of tattoo has since become a minor addiction.” © Tony Reddrop 'Stef' - “Tattooing started as a way for me to hide parts of myself that I didn’t like. The desire to show off my tattoos has always outweighed the desire to hide them...I think it’s really cool how tattooing can do that for someone.” 'Gareth' - “I have been immersed in the tattoo culture in the Manawatu and beyond for the last 20 years. I've been lucky enough to meet inspirational artists over the world in which I've built strong connections with. With these artists we share beliefs behind the art form, and it's allowed me to treat Tattoos as a type of meditation - this is where I turn pain into power.” © Tony Reddrop 'Gareth 2' © Tony Reddrop 'Joanna Etina' - Joanna is the wife of Nick, both are tattoo artists. “I’ve always felt like an alien, like I don't belong around others. Tattooing gives me my individuality while allowing me to be part of a large community. It’s given me many friends and my tattoos are a collection of their work. I’m thankful for tattooing and being able to give that individuality to others every day.” © Tony Reddrop 'Joanna Etina 2' © Tony Reddrop 'Nick' - husband to Joanna. “I've been tattooing for 7 years and have been interested in tattoos for as long as I can remember, so naturally, I went and got my first one done right after I turned 18. This was in my hometown in Schwetzingen, Germany. I was always fascinated by the process of turning an idea into a sketch, into a line drawing, into a finished tattoo and I idolized those who could make it happen. So, I started drawing and focusing my efforts around 'traditional flash'. As one of my mates actually ended up getting tattooed a design that I had drawn, it hit me like a truck. I could do this myself. So, I bought a cheap machine set, tattooed my leg and my mates at home and applied for an apprenticeship in a couple of shops in my hometown. And was turned down. I decided to take a leap year and come to New Zealand for some work and travel instead. On Stewart Island, while preparing for a three-day hike around part of the island, I ran into three heavily tattooed people at the pub. We got talking, and it turns out they had just opened a tattoo shop in Invercargill. I showed them a few of my paintings and the next thing you know we were hanging out back in the shop a few days later and they offered me an apprenticeship. Over the next few months, I learned the basics and got to tattoo a few people. One of the girls I got to tattoo I asked out to come join us for drinks after getting a tattoo at the end of the day. This was in 2016. We’ve been happily married since 2019.” © Tony Reddrop 'Nick 2' © Tony Reddrop 'Cha' - An incredible strong woman, who is giving back to so many, from experiences she has gone through in life. © Tony Reddrop 'Woody' - “I’ve always felt quite insecure about my body, I was always the small kid, tattoos have gifted me not only increased body confidence, but I have also made many friendships with tattooers and fellow tattoo lovers.” © Tony Reddrop The work of Tony Reddrop is an incredible example of the power of visual storytelling - and by exploring the stories behind the tattoos of people from all walks of life, he has opened up a doorway into a community that many of us may never have seen for ourselves. His project is a reminder that there is always something to learn from those around us, and that if we look beneath the surface, we will uncover amazing stories that are worth sharing with the world. To see more of this project, check out Tony’s Flickr and Instagram page. view Tony's portfolio Read an interview with Tony >>> Flickr >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

THE ART OF HUMAN SCIENCE Aurélien Bomy believes in the opportunity to capture subjects in their environment to bear witness to the beauty and preciousness of life. THE ART OF HUMAN SCIENCE August 16, 2021 INTERVIEW PHOTOGRAPHY Aurélien Bomy INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Born in Nantes, Aurélien Bomy developed a taste and interest for the arts at an early stage. He is a clinical psychologist. In parallel with this path, he continues an artistic practice in various ways. Discovering and learning from other artists, he finds out how the use of tools that allow him to give a new impulse to his artistic work, in photography and in the creation of animated collages. Starting street photography to keep memory of the feelings he had whilst walking alone in the street or travelling, Aurélien quickly understood that the result was completely different to what was expected because he was creating something completely new that didn’t exist before. Aurélien focuses on standing in front of strangers and shooting pictures of them in cinematic moments and environments. “Street photography came to me spontaneously, first of all as a practice, and as a way of telling, where words fail. I attach great importance to "storytelling". I believe that in the framing and composition of a photograph and in a certain way of capturing subjects and characters in their urban environment, there is the opportunity, beyond the meaning or any message, to bear witness to the beauty and the preciousness of life. I think the mission of an artist is to re-enchant the world; or at least to counteract its disenchantment.” IN CONVERSATION WITH AURÉLIEN BOMY THE PICTORIAL LIST: Aurélien please tell us about yourself. How did you become interested in photography? AURÉLIEN BOMY: I am 43 years old. I was born in Nantes where I still live and I practice street photography. I developed a taste for and an interest in the arts very early on. My father is an amateur painter and I had the chance to travel as a child and visit many museums. I am a clinical psychologist. I work in medical hospitals and practices, and I teach this practice to students. I have studied and participated in the work of a Lacanian psychoanalysis association, which has greatly enriched my interest in the arts and human sciences and has contributed to bringing precision to a look, to a living reading. In particular, I participated in editing and publishing work that led me to learn image editing tools. This gave a new impetus to my artistic practice, both in photography and in the production of video collages. It was during a trip to Malaysia in 2013 that this taste for capturing moments of life in the city and urban environment was revealed, and I engaged in a regular practice of candid street photography. I first carried out experimental post-production (post-processing) of my photos on a principle of double-exposures, which led to my first exhibition. I then inscribed my practice in a local social link by investing myself in a photographers' collective and turned to a more classic production by seeking to perfect my shooting technique. TPL: Do you have any favourite artists or photographers you would like to share with us? AB: I am very inspired by the work of the great masters of street photography such as Henri Cartier-Bresson, Robert Frank, Helen Levitt, Vivian Maier, Raymond Depardon, Fred Herzog and Saul Leiter, and today, thanks to social networks, I am in contact with many photographers whose work I admire, such as Vianditya Dewanata, Nicolas Millers, Matt Hall, Jaume Creus, Chris McCann, Kalil Ali, Philip Warp, Craig Whitehead, Shane Taylor, Ovidiu Selaru, and others. It's very exciting. TPL: What are some tips or advice you would give yourself if you started street photography all over again? AB: The advice I would give myself if I had to start again at the beginning of my practice would be: "Shoot! Shoot! Shoot! Go alone! Walk the streets and take pictures! Make mistakes! Fail!... That's how you learn! Be patient! There is always something to learn! TPL: When you are out shooting - how much of it is instinctual versus planned? AB: Some of my photos, especially when it comes to scenes or situations, postures or attitudes, are snapshots that I capture on the spot without thinking. You have to act quickly. At first sight! For other photos (which make up an ever greater part of my practice), I organise a composition. Many of my photos are taken in my city Nantes, others were taken during trips (recently in Arles). More and more, I try to find the right place, the right spot, the best placement, the right angle, according to certain elements (shadows, lights, lines, perspective, cuts and patterns, points of view...) by thinking about the framing, the composition. Then I just have to wait for a subject to pass by this place to press the release. It is sometimes a work of patience. Photography helps me...because this practice is above all a work of the eye, of reading, a way of life. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? AB: I have been using a Fuji XT30 camera for two years and I am very satisfied with it. I discover its potential as I go along, according to the photos I take, and it's especially when they fail that I try to understand why and that I learn new settings that will allow me to do better next time in the same type of situation. I use an 18-55mm (equ. 25-80) lens and would like to acquire a 35mm (equ. 50mm) fixed lens with an aperture of f1.4 in the near future to gain in luminosity and to be able to work better on the depth of field and bokeh. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? AB: My objective as an artist is to continue to learn, to discover and to create images in a certain freedom, according to the encounters I can make. This approach implies allowing the unexpected, the unforeseen, the surprise. It is also a question of not foreseeing too much, not programming too much. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AB: I have a rather precise taste for a certain form of aesthetics, of ambiance, of atmosphere that I would like to be able to approach. I find inspiration in many photographers and in many films by directors such as Wong-Kar Wai, David Lynch and many others...I would like to move my work in that direction by perfecting my shooting technique, my way of approaching subjects (working on the portrait), as well as my technique of using the equipment and my settings. I would also like to link my photographs with other artistic media such as poetry or literature (illustrating a text) or associate my images with music. I would also like to work with video...all this requires time... To be continued... TPL: "When I am not out photographing, I (like to)… AB: When I'm not out taking pictures, I like to read, listen to music, watch films, cinema, and share convivial moments with my friends and meet people." Aurélien believes in the opportunity to capture subjects in their environment to bear witness to the beauty and preciousness of life. Thank you Aurélien for sharing your art of human science. Follow Aurélien on Instagram and experience his photography for yourself. VIEW AURÉLIEN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I am a graduate of Hindu College, University of Delhi, with a background in history and political science. I am an emerging documentary filmmaker and photographer with a keen interest in exploring cultural heritage, community narratives, and socio-anthropological themes. My photography focuses on capturing the interplay of tradition and modernity, emphasizing human stories with visual depth and cultural sensitivity. My approach combines immersive research with thoughtful composition, aiming to document the essence of underrepresented communities and their lived realities. ABDULLA SHINOSE CK I am a graduate of Hindu College, University of Delhi, with a background in history and political science. I am an emerging documentary filmmaker and photographer with a keen interest in exploring cultural heritage, community narratives, and socio-anthropological themes. My photography focuses on capturing the interplay of tradition and modernity, emphasizing human stories with visual depth and cultural sensitivity. My approach combines immersive research with thoughtful composition, aiming to document the essence of underrepresented communities and their lived realities. LOCATION Malabar INDIA CAMERA/S Nikon 5600D, Apple iPhone @ABDULLA.SHINOSE FEATURES // Clay and Ashes

In mid-2019, it hit me - I am getting older. If I don’t do anything now, I never will. So, I bought my first camera in November 2019. Initially, I did not know what to shoot and how to shoot. So, I started learning photography from YouTube, online journals and researching famous photographers. Initially I was very interested about landscape photography. But soon, realised that it was not my cup of tea. I discovered that street photography is the best fit for me, even though I was extremely shy and nervous. So, initially I used long telephoto lenses so I could take photos from a distance. But then in early 2020, the world was plagued with COVID-19. Everybody started wearing masks. And that was the game changer for me. Since, the people I shot wore masks and so did I, our identities were not disclosed. That gave me the comfort of getting close to people. In the meantime, I formed a small group of like-minded and enthusiastic street photographers. This has helped me to shoot confidently on the streets, exploring new places of the city and exchange different thoughts about photography. For my photography, humans are the most important element. Different environments provoke different emotions, different emotions provoke different moods and different moods provoke different behavior. In short, environment determines the mood. Most of the time, it is the humans in a photo that catch my eye. It is this combination of moments, environment and the people in it that draws me to preserve them in a frame. ANWAR EHTESHAM In mid-2019, it hit me - I am getting older. If I don’t do anything now, I never will. So, I bought my first camera in November 2019. Initially, I did not know what to shoot and how to shoot. So, I started learning photography from YouTube, online journals and researching famous photographers. Initially I was very interested about landscape photography. But soon, realised that it was not my cup of tea. I discovered that street photography is the best fit for me, even though I was extremely shy and nervous. So, initially I used long telephoto lenses so I could take photos from a distance. But then in early 2020, the world was plagued with COVID-19. Everybody started wearing masks. And that was the game changer for me. Since, the people I shot wore masks and so did I, our identities were not disclosed. That gave me the comfort of getting close to people. In the meantime, I formed a small group of like-minded and enthusiastic street photographers. This has helped me to shoot confidently on the streets, exploring new places of the city and exchange different thoughts about photography. For my photography, humans are the most important element. Different environments provoke different emotions, different emotions provoke different moods and different moods provoke different behavior. In short, environment determines the mood. Most of the time, it is the humans in a photo that catch my eye. It is this combination of moments, environment and the people in it that draws me to preserve them in a frame. LOCATION Dhaka BANGLADESH CAMERA/S Fujifilm X-T30 WEBSITE https://anwarehtesham.com/ @EHTESHAM_DIGITAL FEATURES // People And Their Environment The Stranded Pakistanis Beyond The Bricks

Parvathi Kumar was born and raised in eastern Canada, is of South Indian origin, and is currently based in New Jersey, USA. She was initially trained as a teen by her mother in manual film photography. Her passion for this medium remained strong over the next 35+ years (while earning degrees in Electrical Engineering and Computer Science along the way!) and after working in IT, she became a professional freelance photographer since 2010. She has received awards and frequently exhibits her work in both solo and group shows throughout the US and abroad. She is a flaneuse, thoroughly enjoying the process of candid or street photography, wandering and observing in various locations to creatively capture our collective journey through life. PARVATHI KUMAR Parvathi Kumar was born and raised in eastern Canada, is of South Indian origin, and is currently based in New Jersey, USA. She was initially trained as a teen by her mother in manual film photography. Her passion for this medium remained strong over the next 35+ years (while earning degrees in Electrical Engineering and Computer Science along the way!) and after working in IT, she became a professional freelance photographer since 2010. She has received awards and frequently exhibits her work in both solo and group shows throughout the US and abroad. She is a flaneuse, thoroughly enjoying the process of candid or street photography, wandering and observing in various locations to creatively capture our collective journey through life. LOCATION New Jersey UNITED STATES CAMERA/S Fujifilm XT5, iPhone 16 pro WEBSITE https://www.parvathikumar.com/ @PARVATHI_KUMAR_PHOTOGRAPHY FEATURES // Everyday Blackness

The basis of all my work lies in those closest to me - my family. They have provided the opportunity to document, engage and experience a vast world of emotions as well as shared experiences. It is a compulsion that continues to drive me to pick up a camera every day. VIN SHARMA The basis of all my work lies in those closest to me - my family. They have provided the opportunity to document, engage and experience a vast world of emotions as well as shared experiences. It is a compulsion that continues to drive me to pick up a camera every day. LOCATION New York UNITED STATES CAMERA/S Canon EOS R5 WEBSITE https://www.vinsharmaphotography.com/ @VIN_SHARMA_PHOTO FEATURES // Making Connections Domestic Wasteland Coalescence