My journey into the arts began with music. With a Level II Academic Diploma in Cello, I spent a decade performing as an orchestra professor and chamber musician, immersing myself in the world of sound, rhythm, and harmony. But creativity is fluid, and over time, my artistic expression found a new voice. For years, I worked in Visual Communication, always drawn to painting and the visual arts. Photography entered my life unexpectedly, a gift that sparked an unforeseen transformation. From the moment I picked up my first camera, I realized that I wasn’t interested in documenting the world as it is, but rather in reimagining it. Photography became my language — a way to translate emotions, memories, and perceptions into images that blur the line between reality and illusion. I began with documentary reportage, capturing moments of truth and human experience. But as my artistic voice evolved, so did my approach. My images now live in a space where layers of meaning intertwine, where elements dissolve and reconstruct themselves, creating fragmented realities that reflect my inner vision. This journey has led me to international recognition, with Honorable Mentions in competitions such as the Monochrome Photography Awards, ND Awards, Monovisions Photography Awards, Chromatic Awards, Tokyo International Foto Awards, IPA International Photography Awards, BIFA, and Trieste Photo Days. My work has been published in books and online magazines, further solidifying my place in the photographic world. LUISA MONTAGNA My journey into the arts began with music. With a Level II Academic Diploma in Cello, I spent a decade performing as an orchestra professor and chamber musician, immersing myself in the world of sound, rhythm, and harmony. But creativity is fluid, and over time, my artistic expression found a new voice. For years, I worked in Visual Communication, always drawn to painting and the visual arts. Photography entered my life unexpectedly, a gift that sparked an unforeseen transformation. From the moment I picked up my first camera, I realized that I wasn’t interested in documenting the world as it is, but rather in reimagining it. Photography became my language — a way to translate emotions, memories, and perceptions into images that blur the line between reality and illusion. I began with documentary reportage, capturing moments of truth and human experience. But as my artistic voice evolved, so did my approach. My images now live in a space where layers of meaning intertwine, where elements dissolve and reconstruct themselves, creating fragmented realities that reflect my inner vision. This journey has led me to international recognition, with Honorable Mentions in competitions such as the Monochrome Photography Awards, ND Awards, Monovisions Photography Awards, Chromatic Awards, Tokyo International Foto Awards, IPA International Photography Awards, BIFA, and Trieste Photo Days. My work has been published in books and online magazines, further solidifying my place in the photographic world. LOCATION Parma ITALY CAMERA/S Olympus E-M5 Mark II WEBSITE https://www.luisamontagna.com/ @LUISAMONTAGNAPHOTO FEATURES // That's How It Is

LIVING IN THE MOMENT For Tomas Cihak, photography is all about the emotions and feelings, capturing scenes that evoke and reflect sentiments in that moment. LIVING IN THE MOMENT August 5, 2020 INTERVIEW PHOTOGRAPHY Tomas Cihak INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Tomas Cihak captures the beauty in the ordinary, mundane moments of life. He is a Czech born photographer, now based in Bristol, United Kingdom, whose vision for photography is to evoke emotion and feeling; a sentiment of warmth, happiness, and nostalgia, but also a reminder of sadness and emptiness. His aim is to live in the moment and remember it in his photos. But what really sets Tomas apart from other photographers is his unique approach to his art. He isn't just looking for the perfect shot, he's looking to inspire meaningful reflection in the viewer. This is what makes Tomas Cihak a truly intriguing photographer: a man who wants to make an emotional connection with his audience through the lens of his camera. “I have the desire to capture warm, positive and old-school looking photographs that can evoke and embody feelings and sentiments of happiness, nostalgia and the good old days' vibe.” IN CONVERSATION WITH TOMAS CIHAK THE PICTORIAL LIST: Tomas, when did you start getting interested in photography? TOMAS CIHAK: I started to think about actually trying to take photographs with a proper camera about two years ago. However, it wasn't until about two months ago that I actually started going out and taking photographs. TPL: What is your favourite quote or words that resonates with you the most? TC: One that has stuck with me for years is “It is what it is 'til it ain't” sung by Mac Miller in a song called “What's the use?”. I am not exactly sure why, but I believe it has something to do with the fact that I am mainly emotionally driven, and I don't like big changes in my personal life. I suppose then the line "it is what it is 'till it ain't” reminds me of the fact that nothing in life lasts forever, that it's OK and that I just have to live in the moment and appreciate what I have while it lasts. TPL: Where do you find your inspiration to photograph? TC: I suppose my inspiration comes from the fact that certain types of images can evoke in me feelings and emotions of nostalgia, happiness and/or sadness. I find that absolutely mesmerizing and I want to be able to take such photographs as well. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? TC: I wouldn't say that I have a particular favourite photographer that has influenced my style but rather the ability of certain photographs to evoke variety of feelings and to communicate emotions. TPL: Since you have only just begun your photography journey, how would you describe your style and what else would you like to explore in the future? TC: I believe the core of my photography will remain the same even in the long run...the desire to capture warm, positive and old-school looking photographs that can evoke and embody feelings and sentiments of happiness, nostalgia and the good old days' vibe. However, there are some other styles and types of photography that I also want to explore in the future, such as a bit more intimate form of photography or shooting in a studio and working with fashion models etc. The line “it is what it is 'till it ain't” reminds me of the fact that nothing in life lasts forever, that it's OK and that I just have to live in the moment and appreciate what I have while it lasts. TPL: Where is your favourite place(s) to photograph? TC: So far, I have only been photographing on the streets of Bristol, but I would love to go and take photographs in places such as Prague, Manchester, Lisbon, Edinburgh and Berlin. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone else just starting out? TC: I suppose it might become more important in the future depending on what kind of photographs I will want to take and how, and of what quality. Having said that, I don't think I need any special or expensive equipment to do what I do right now. I believe one doesn't need to have a super fancy camera to be able to just go out, explore, have a good time and take decent photographs. To someone who is just starting out or thinking about starting, I'd say, your equipment doesn't really matter. I myself shoot with an older inexpensive compact camera, and I couldn't be happier. Just go out and take photos on anything you have that shoots. If you fall deeper for photography and would want to take it to a higher level, then start thinking a bit more about getting a better camera. TPL: Are there any special projects you are currently working on? TC: I am currently working on a platform called "Laid Back Visuals" which I hope one day will become a sort of feature magazine for like-minded photographers with a similar style to mine on Instagram. I find it somewhat frustrating to see that the majority of street photography platforms out there tend to mainly focus on abstract, high contrast and fancy looking street photographs. There are so many talented people out there who understand and portray street photography in a similar fashion as I do but it feels as if there aren't enough platforms to showcase such work. So, I would like to change that. TPL: “If I wasn't photographing what would I be doing? TC: If I wasn't photographing in my spare time, I'd most likely just watch movies all the time...I love movies.” Tomas Cihak is a unique and captivating photographer whose work has the power to evoke emotion and feeling in the viewer. His combination of artistic ability and real life experiences, as well as his drive to connect with others through his photos, make him stand out from the crowd. If you're looking to explore the beauty of the ordinary, Tomas Cihak is the photographer you need to follow. Connect with him through Instagram to keep up to date with his work and get inspired by his unique perspective on the world. VIEW TOMAS' PORTFOLIO Tomas' 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.

Photography is the best approach I have found in my quest for authentic resonance in the world and to understand the responses I get. ROMAIN COUDRIER Photography is the best approach I have found in my quest for authentic resonance in the world and to understand the responses I get. LOCATION Marseille FRANCE CAMERA/S Fujifilm XT30 and Canon Eos 600D WEBSITE https://romaincoudrier.com/ @ROMAIN.COUDRIER Bifröst

Talking to photographers from around the world, offering an insight into their photographic journey to inspire us all. 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. INTERVIEW THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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. INTERVIEW A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. INTERVIEW 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. INTERVIEW FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. INTERVIEW 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. INTERVIEW 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. INTERVIEW 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.

Betty Goh's photography is infused with a sense of mystery and imagination. Her original and unconventional contemporary style often surprises and captivates her audience with its unexpected perspectives. Born and based in Singapore, Betty’s primary passion is abstract street photography. She views the urban landscape through alternative lenses, transforming the ordinary into extraordinary. Her work explores the beauty of everyday streets, capturing the intricate details of layers, lines, spaces, reflections, shadows, and silhouettes. Betty describes her photographs as introspective reflections of her subconscious. Street photography has provided her with a space to express the complex emotions of urban life — passion, loneliness, fear, tension, and dilemma. These unspoken, surreal emotions often emerge as hidden elements in her visual poetry. BETTY GOH Betty Goh's photography is infused with a sense of mystery and imagination. Her original and unconventional contemporary style often surprises and captivates her audience with its unexpected perspectives. Born and based in Singapore, Betty’s primary passion is abstract street photography. She views the urban landscape through alternative lenses, transforming the ordinary into extraordinary. Her work explores the beauty of everyday streets, capturing the intricate details of layers, lines, spaces, reflections, shadows, and silhouettes. Betty describes her photographs as introspective reflections of her subconscious. Street photography has provided her with a space to express the complex emotions of urban life — passion, loneliness, fear, tension, and dilemma. These unspoken, surreal emotions often emerge as hidden elements in her visual poetry. LOCATION SINGAPORE CAMERA/S Leica Q2 and Q3 WEBSITE https://www.bettygohphotography.com/ @BETTY_GOH_PHOTOGRAPHY FEATURES // Visual Healing Beyond the Diagnosis

WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. WALKING BUENOS AIRES August 16, 2023 INTERVIEW PHOTOGRAPHY Alex Gottfried Bonder INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Buenos Aires is a vibrant city known for its unique culture and colorful nightlife, and is home to street photographer, Alex Gottfried Bonder. Since his arrival in 1994, Alex has explored the urban landscape of Buenos Aires through his work, capturing moments in time that are both mundane and extraordinary. His love of street photography is driven by his curiosity and creativity; it encourages him to wander through neighborhoods that are often overlooked to discover the hidden beauty of this dynamic city. Alex’s portfolio is expansive, including participation in various exhibitions, and even a book, “Caminando Buenos Aires”, published in 2018. As an artist, he is uniquely drawn to irony and the absurd, and his photographs reflect this aesthetic. Alex has drawn inspiration from many figures in the field, but particularly admires Elliot Erwitt for his ability to capture a moment with such humor and poignancy. This interview will take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. Join us as we explore Alex’s creative process, inspirations, and the unique perspective he has on this historic city. “I am convinced that the pillars of my street photography are curiosity, the capacity for observation and creativity. If any of these elements were missing, it would be very difficult to obtain satisfactory results.” IN CONVERSATION WITH ALEX GOTTFRIED BONDER THE PICTORIAL LIST: Hello Alex, welcome to The Pictorial List. Let us begin by telling us about yourself. ALEX GOTTFRIED BONDER: I was born in 1962 in Santiago de Chile. For family reasons, in 1977 I left for Israel. Since I was 15 years old, I was greatly attracted to art, so at 17 I left school and went to study fine arts at an institute in the city of Tel Aviv. I remember that I was the only minor, since due to the compulsory nature of military service, all the other students could only start studying once they had finished. In 1981, I left for Italy, also with the hope of studying fine arts. And for the next two years I studied at the “Accademia di Belle Arti de Carrara”, doing a little bit of everything, painting, drawing and sculpture. And while I did take some photos, photography was not a priority for me at the time. 1983 it was my turn to go to Switzerland, where among other things I had the opportunity to learn Vitraux techniques and also begin my experience with black and white and laboratory photography. During 1994, I moved to Buenos Aires. Although at first, I thought of dedicating myself to tourism services, things turned out differently, and shortly after I started working as a photographer at the Faculty of Dentistry of the University of Buenos Aires, doing what is called “dental photography”, and for the next 23 years I dedicated myself almost exclusively to that type of photography. My beginnings with street photography occurred in 2013, when I was able to buy my first compact camera, with an interchangeable lens. It was the only way to overcome the fear of going out on the streets of the city, with a camera in hand without fear of being a victim of insecurity, or of risking too valuable equipment, since it gave me the chance to put it away almost immediately, in my jacket pocket. Currently I dedicate myself almost exclusively to teaching photography courses and workshops. TPL: What would you say first drew you to photography? What is it about this medium that you still have a passion for today? How did street photography find you or how did you find street photography? AGB: I remember that from a very young age, I felt a great attraction to cameras and the magic they produced. Added to that, I always felt a need to develop creative activities, both drawing and painting, sculpture, printing, stained glass, and I even made Super 8 films. Unfortunately, for one reason or another, I was only able to start practicing photography seriously as an adult. I think that street photography attracts me and helps me in particular because it allows me, on the one hand, to satisfy that curiosity that I have to discover new places, observe people in their surroundings, feel those aromas that are so varied depending on what part of the planet you come from, perceiving colors, etc., and on the other hand, being able to generate something creative with everything I see. TPL: Could you tell us what living in Buenos Aires has inspired in your work? What special qualities unique to this city influence your street and the way you portray your community? AGB: Buenos Aires is a fascinating city, like most big cities. There is not much to add. Each city has its own idiosyncrasies, and Buenos Aires is no exception. But once again, what moves me the most is the need to get to know every corner of the city, and of course I take pictures along the way. On the other hand, I always like to repeat that Buenos Aires is the Argentine capital of the “absurd”, since we constantly find ourselves facing situations that would surely be impossible to explain, with words, to someone from another place. At first I try not to take documentary-type photographs, but rather to think that I can invent from what I call “the elements available to the photographer” which is everything I see, starting with people, buildings, advertisements, graffiti, lights and shadows etc. That is why I say that creativity is essential for my type of photography. TPL: Where do you find your inspiration to keep photographing? AGB: I don't know if the correct word is “inspiration”. But what moves me is surely the expectation of ever, one day getting that unique, unrepeatable photo, better than any of the photos I've taken so far. TPL: There are two techniques that are colloquially referred to as ‘hunting’ and ‘fishing’ in street photography. When you are out on the street taking pictures, are you a ‘hunter’ or a ‘fisher’, or is it a combination of both? Please describe your process. AGB: I believe that I can be both a ‘hunter’ and a ‘fisher’, and this is clearly seen in the photos that I shared with you. The most spontaneous or candid photos are the product of a more ‘hunter’ attitude, always with the camera in hand, attentive, observing from all sides what is happening and predicting what may happen. Waiting for that ‘something’ that can happen at any moment unexpectedly. On the other hand, when I see something striking, such as a mural, graffiti, architecture, a shadow, or anything else that my imagination turns into an image, I become a ‘fisher’ waiting for someone to pass so that I can eventually finalize the ‘construction site’. There are photos like the one of the dentist with the tweezers, which has taken me several days to achieve the imagined result, since it doesn't just happen by being in the place, having the camera in hand and taking the photo. And here let me emphasize that in my humble opinion, at least in my case, both one mode and the other require a large dose of luck to accompany me, since, without it, surely I would not be able to take photos, so to speak. Then there is also the geographical factor. There are parts of the city, such as the financial sector, in which, having a high population density, it is easier to assume the ‘hunter’ mode. It's like fishing in a troubled river... On the other hand, on a Sunday morning, on a less-crowded avenue, it is surely more feasible to have a ‘fisherman’ attitude since we will have more time available to imagine and mentally assemble possible photos. Personally I think that the ‘hunter’ type photos tend to be more original and unrepeatable, while the ‘fisher’ type are usually more creative but not so unrepeatable. It is for this reason that I do not show several of my photos until a few years have passed, when it is totally impossible to take a similar shot. TPL: What is the most rewarding part of being a street photographer for you? What are some of the challenges that you have faced? AGB: I think the most satisfying thing that can happen to me as a photographer is to see my photos framed on a gallery wall, appreciated by viewers. See the smile on their faces as they look at my photos. When it comes to challenges, there always are. Daily. It may be gathering enough courage to go and discover marginal neighborhoods, considered unsafe, or having lost the fear, or rather the shame of asking permission to take a close-up portrait of strangers. A daily challenge, and enormous, is to try not to repeat photographs already taken a thousand times, not to turn my photography into a kind of craft. Look for originality. The construction of an image does not only involve the person or people who are in the frame, but also the environment that accompanies it. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? AGB: From the moment I leave my house I become a 360° camera. 😉 The question is how long one can be 100% focused on street photography. TPL: Where would you say your curiosity for people comes from? AGB: Some people are naturally curious and some are not. I am curious. And that includes curiosity about the behavior of people, in the environment in which they are. But again, the construction of an image does not only involve the person or people who are in the frame, but also the environment that accompanies it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? If you could just choose one photographer to shoot alongside for a day..., who would you choose? And why? AGB: Yes of course. First I would put Elliott Erwitt. His unique gaze has always fascinated me. His sense of irony is incredible. Then, there is something in Sergio Larraín's work that I also like a lot. And I cannot fail to mention André Kertész, Josef Koudelka, etc. But normally I try to refrain from making this type of list, since it is impossible to name all those who in one way or another deserve to be named. AGB: Well, if the question is about photographers from the past, surely Elliot Erwitt. But I would also have liked to be able to share with Richard Sandler a tour of the New York subways in the 80's. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on your wishlist? AGB: 1980…I bought my first camera. An Olympus OM10. I currently use the micro four thirds format with a 35mm (equivalent) lens. With respect to wanting to buy something more modern or different, the truth is that I am already at that stage in which I realize that no new camera is going to improve my photographs in any way. My limitations are in myself, they are not technological (I read it somewhere...). TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals for the next 3-5 years? AGB: If it can be defined as a project, it could mention being able to have (remarkable) street photos taken in each of the 48 neighborhoods of the city. Another project that I am slowly starting to work on is the publication of my second book on street photography in Buenos Aires. TPL: “When I am not out photographing, I (like to) ... AGB: When I'm not taking photos in the streets...I'm deleting most of the photos I took…haha...but I like movies and rock music.” Thank you very much TPL for the opportunity to exhibit my work. Alex Gottfried Bonder has been capturing the life and soul of Buenos Aires for many years. His work is an interesting mix of the mundane and extraordinary. Through his curiosity and creativity, Alex has created an expansive portfolio of images showing the hidden beauty of his city. Street photography has been a great source of inspiration for Alex, and he enjoys uncovering the truths of Buenos Aires through his lens. To learn more about Alex and his work, we invite you to reach out to him and view more of his portfolio through the links below. VIEW ALEX'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 vividly remember that one special moment when I first stumbled upon photos of candid human expressions and stylish contrast street work of some of the best photographers out there. The thought of capturing moments whilst playing with light and composition elements hit me. I'm Adrian, a passionate street photographer living in Singapore. Fascinated by the playful shadows and intentional blown out highlights of Trent Parke's photography and the aesthetically brilliant work of Thomas Leauthard, I headed out to the streets with an old camera in hand and never stop learning. ADRIAN TAN I vividly remember that one special moment when I first stumbled upon photos of candid human expressions and stylish contrast street work of some of the best photographers out there. The thought of capturing moments whilst playing with light and composition elements hit me. I'm Adrian, a passionate street photographer living in Singapore. Fascinated by the playful shadows and intentional blown out highlights of Trent Parke's photography and the aesthetically brilliant work of Thomas Leauthard, I headed out to the streets with an old camera in hand and never stop learning. LOCATION SINGAPORE CAMERA/S Olympus EM10 and Fujifilm X-Pro2 @ADRIANO.RH FEATURES // Harmony of Contrasts

Photography must express what words cannot express. Photography is a silent art that grows strong in silence. The photographer does not speak; the photographer only points out. Pointing out is to isolate and delimit the world. Photography is the fragmentary art par excellence. We do not see the world as it is, but as we are. A photograph that is defined beforehand is a dead photograph. A living photograph is one that is created and actualized by gaze. Art records the seizures of the social. We must account for the events of our time. Photographing the archive, resampling its documents for a stab in the unconscious. Doing an archeology of the present. Exploring the photographic dimension of movement, where overlays, sparkles, and unexpected analogies appear. Marginal elements emerge as untimely interferences, contiguities that generate metaphors: images of images in a double detachment from the real. We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness. ADRIAN PELEGRIN Photography must express what words cannot express. Photography is a silent art that grows strong in silence. The photographer does not speak; the photographer only points out. Pointing out is to isolate and delimit the world. Photography is the fragmentary art par excellence. We do not see the world as it is, but as we are. A photograph that is defined beforehand is a dead photograph. A living photograph is one that is created and actualized by gaze. Art records the seizures of the social. We must account for the events of our time. Photographing the archive, resampling its documents for a stab in the unconscious. Doing an archeology of the present. Exploring the photographic dimension of movement, where overlays, sparkles, and unexpected analogies appear. Marginal elements emerge as untimely interferences, contiguities that generate metaphors: images of images in a double detachment from the real. We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness. LOCATION Playa del Carmen MEXICO CAMERA/S Canon 5Ds WEBSITE https://www.adrianpelegrin.net/ @ADRIANPELEGRIN FEATURES // Zoonosis

VISUAL AMBIGUITIES Through her photography, Alicia Haber's intentions are to question what is the 'realism' or what is the 'truth' to stimulate the viewer. VISUAL AMBIGUITIES May 3, 2020 INTERVIEW PHOTOGRAPHY Alicia Haber INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Alicia Haber is an esteemed Art Historian and Curator of Contemporary Art who has led a fascinating life of international travel and exploration. Born in Montevideo, Uruguay, she has since made a name for herself in the art world, receiving grants and invitations from universities and cultural institutions across Western Europe and the United States. Now retired, Alicia has taken up photography as her passion and is using her lens to challenge the notions of ‘realism’ and ‘truth’. Through her creative works, she encourages viewers to look beyond the surface and ponder the ambiguities of what they observe. Decades of exploration, study, and observation have made Alicia a masterful storyteller; her photographs are proof of her extraordinary eye for detail and her ability to capture profoundly captivating moments. Join us as we learn more about Alicia Haber, her eye-opening works, and her journey to becoming a renowned visual artist. “Since I was very young, but I only took photographs as a tourist, for my Art History classes, or of my children. I have been a photographer for the last two years and a half once I started studying photography. Then, after I knew how to deal with the technical aspects of my Sony Alpha 6300 and with editing with Photoshop, I started looking for my own subject matters and my own personal visual language.” IN CONVERSATION WITH ALICIA HABER THE PICTORIAL LIST: Hello Alicia...welcome to The List! Tell us, where do you find your inspiration? ALICIA HABER: I find inspiration in the city, basically in Montevideo and also in cities in Brazil, where I travel quite often. I am a very urban person. I am not attracted to landscapes, flowers, and nature in general. People in their daily life interest me a lot. I am not in search of a realistic depiction of the world. My photos, in general, concentrate on reflections, blurs produced by camera movement or slow speed and movement of the subject, silhouettes. In general, though, I do not want total abstraction. I let the image or images to be seen, to stay in the picture, even if they are blurred or duplicated. TPL: Where is your favourite place to photograph? AH: In the city, in the streets, in places related to urban life. TPL: Do you feel that you have grown in your photography since you started almost 3 years ago? Has your style of photographing changed? AH: Yes, it has changed. My photography is a work in progress. I keep studying, now by myself, learning about new ways of expressions, trying to find new challenges and finding new approaches. TPL: Tell us more about your involvement in the artistic world before photography? AH: I am an Art Historian and curator. I have taught Art History, wrote books on famous Uruguayan artists, curated hundreds of exhibitions of Uruguayan artists both in Uruguay and abroad (Brazil, Argentina, New York, Los Angeles, Germany, Venice Biennale, Sao Paulo Biennale, among others), have presented papers on Uruguayan art in several conferences of Art Historians and Art Critics in Great Britain, the United States, Germany, Sweden, and many other countries. I am not in search of a realistic depiction of the world. TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? AH: Be audacious. Be curious. Open your mind. Reject the obvious. Look at Contemporary art. Visit museum or virtual museum. Watch very good films with very good photography. Learn from the photography masters. Keep visiting sites where you can look for different types of photography, particularly the ones that break stereotypes. Establish dialogues with other colleagues. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AH: Good equipment is necessary. It does not have to be an expensive one. You can always upgrade it later. It is important to know how to use it. Then, the real important thing is to look at the world around you and find ways to depict it in your own way. Ex nihilo nihil. So, look at what other photographers, particularly masters, have done. And learn from them. Do not copy them. Be inspired by them. Look for your own style. Look for your own voice. TPL: Do you have any favourite artists or photographers you would like to share with us? AH: Saul Leiter, William Klein. And many, many others. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AH: During the lockdown and quarantine period we are now living, I have to stay at home, and keep photographing. It is a new challenge. I have to solve the problems alone. I photograph outside my window at night, in the evening, and inside my apartment. My intention is always to problematize the regard and challenge common concepts of what is real. So, also at home I work with camera movement or the movement of the model. Fortunately, a Brazilian friend is staying with me during the quarantine, and she is so nice that she lets me photograph her. I am trying to convey different moods produced by confinement, also everyday life during Covid-19, inside and outside the apartment and what is going on with the neighbours. TPL: "If I wasn't photographing what would I be doing?... AH: Now my great passion is photography, so I cannot imagine anything else." Through her photography, Alicia makes us question what is the 'realism' or what is the 'truth' to stimulate us. We take the opportunity to thank Alicia for sharing her photography with us. Visit her website to see more of Alicia's projects or follow her journey on Instagram. VIEW ALICIA'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 thought that, with time, all the questions I have been asking myself for years about my relationship with photography would be resolved. To give evidence of a world in continuous change?, To provoke feelings?, Poke around in the consciences?, Hedonistic exercise? Selfish Utilitarianism?, Memory sustenance? Far from it, a multitude of possible answers remain open. Doing photography: a crude attempt to usurp from Life infinitesimal parts of its Time - that merciless God - to recompose them in whimsical combinations of light and shadow, creating illusory windows to the outside world but also to the inner one. I hardly ever photograph objects, monuments or landscapes, which, if anything, are mere decorations accompanying a single protagonist: the human being, with his strengths and miseries, with his yearnings and frustrations, with his laughter and tears. And I can't remember a single one of my photographs in which, at the moment of shooting, I have not been accompanied by the deep conviction that only chance or even time are the single reason why I’m not that old man from a remote tribe, that devotee in ecstasy inside a madrassa, that beggar sheltering from the rain under the tin or that nouveau riche who disdains everything that doesn't concern him in the first person. I do not photograph what I see but what I am. I never think of my photographs as art objects or consumer items, they have nothing to do with ephemerality either. I think of them as tools at the service of a simple idea so masterfully summarized by Wayne Miller: the universal truths of being human. I firmly believe that the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us, like mirrors, some unknown part of ourselves. RPNUNYEZ I thought that, with time, all the questions I have been asking myself for years about my relationship with photography would be resolved. To give evidence of a world in continuous change?, To provoke feelings?, Poke around in the consciences?, Hedonistic exercise? Selfish Utilitarianism?, Memory sustenance? Far from it, a multitude of possible answers remain open. Doing photography: a crude attempt to usurp from Life infinitesimal parts of its Time - that merciless God - to recompose them in whimsical combinations of light and shadow, creating illusory windows to the outside world but also to the inner one. I hardly ever photograph objects, monuments or landscapes, which, if anything, are mere decorations accompanying a single protagonist: the human being, with his strengths and miseries, with his yearnings and frustrations, with his laughter and tears. And I can't remember a single one of my photographs in which, at the moment of shooting, I have not been accompanied by the deep conviction that only chance or even time are the single reason why I’m not that old man from a remote tribe, that devotee in ecstasy inside a madrassa, that beggar sheltering from the rain under the tin or that nouveau riche who disdains everything that doesn't concern him in the first person. I do not photograph what I see but what I am. I never think of my photographs as art objects or consumer items, they have nothing to do with ephemerality either. I think of them as tools at the service of a simple idea so masterfully summarized by Wayne Miller: the universal truths of being human. I firmly believe that the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us, like mirrors, some unknown part of ourselves. LOCATION San Javier SPAIN CAMERA/S Nikon D810 WEBSITE https://www.rpnunyez.com/ @RPNUNYEZ_PHOTOGRAPHER FEATURES // Red Blood Abyssinian Diaries The Whirling Dervishes of Konya

Presenting the work of visual storytellers from around the world. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi captures nature’s abstract brushstrokes where land, water, and sky blur into poetic visions. PICTORIAL STORY ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. PICTORIAL STORY VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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. PICTORIAL STORY 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.

Michèle Polak is an artist and photographer that has embodied illumination and has spent her life searching for new ways of expressing and sharing this light that has become a part of her. The effect that humanity has had on these elements and the way it affects our world has inspired new works of her perceptions. She embraces many different photographic techniques to create her abstractions. She considers us as elements of the universe, and the connections she has made throughout her life are profound and incite thought and contemplation. It is the 'Light What We See’ that illuminates her soul and is her guiding light in life. MICHÈLE POLAK Michèle Polak is an artist and photographer that has embodied illumination and has spent her life searching for new ways of expressing and sharing this light that has become a part of her. The effect that humanity has had on these elements and the way it affects our world has inspired new works of her perceptions. She embraces many different photographic techniques to create her abstractions. She considers us as elements of the universe, and the connections she has made throughout her life are profound and incite thought and contemplation. It is the 'Light What We See’ that illuminates her soul and is her guiding light in life. LOCATION Bergen NORTH HOLLAND CAMERA/S Sony RX100lll, Iphone 12 pro, Nikon analog/digital, and Minox. @DEBERGENSEBOEKENKAST FEATURES // Light Is What We See