Mariette Pathy Allen is a photographer of transgender, genderfluid, and gender variant communities, as well as other continuous series such as Birth and Families, The Face of New Jersey, People With Art, Flowers and Fantasy, Texas, and Scapes. In 1978, on the last day of Mardi Gras in New Orleans, Allen met Vicky West, a trans woman she befriended and through whom she was first invited to Fantasia Fair, a transgender conference where she would serve as official photographer. She traveled across the US to many other transgender conferences, participated in political activism, and worked for the Transgender Tapestry magazine. She continues to pursue the work of photographing, interviewing, and advocating on behalf of gender-nonconforming people. Allen is the author of four books that have brought visibility to transgender communities across the world including Transformations: Crossdressers and Those Who Love Them (1989), The Gender Frontier (2004), TransCuba (2014), and Transcendents: Spirit Mediums in Burma and Thailand (2017). She has made dozens of slide presentations to a variety of groups, participated in radio and television programs, and been a consultant and still photographer for films. Allen’s work is included in numerous collections, both public and private, and has been exhibited internationally. Her work is being archived by Duke University's Rare Book and Manuscripts Library and the Sallie Bingham Center for Women's Studies. Allen is based in New York City and is represented by CLAMP, New York. MARIETTE PATHY ALLEN Mariette Pathy Allen is a photographer of transgender, genderfluid, and gender variant communities, as well as other continuous series such as Birth and Families, The Face of New Jersey, People With Art, Flowers and Fantasy, Texas, and Scapes. In 1978, on the last day of Mardi Gras in New Orleans, Allen met Vicky West, a trans woman she befriended and through whom she was first invited to Fantasia Fair, a transgender conference where she would serve as official photographer. She traveled across the US to many other transgender conferences, participated in political activism, and worked for the Transgender Tapestry magazine. She continues to pursue the work of photographing, interviewing, and advocating on behalf of gender-nonconforming people. Allen is the author of four books that have brought visibility to transgender communities across the world including Transformations: Crossdressers and Those Who Love Them (1989), The Gender Frontier (2004), TransCuba (2014), and Transcendents: Spirit Mediums in Burma and Thailand (2017). She has made dozens of slide presentations to a variety of groups, participated in radio and television programs, and been a consultant and still photographer for films. Allen’s work is included in numerous collections, both public and private, and has been exhibited internationally. Her work is being archived by Duke University's Rare Book and Manuscripts Library and the Sallie Bingham Center for Women's Studies. Allen is based in New York City and is represented by CLAMP, New York. LOCATION New York UNITED STATES CAMERA/S Canon 5D Mark II, Sony a7 II, Nikon FM WEBSITE https://www.mariettepathyallen.com/ @MARIETTE_PATHY_ALLEN FEATURES // Transcendents: Spirit Mediums in Burma and Thailand

PICTORIAL STORY BLINDFOLD CHESS In the quiet intensity of blindfolded chess, visually impaired players reveal a powerful blend of memory and strategy — Anastasiya Pentyukhina documents a rare glimpse into a world guided by focus rather than sight. August 30, 2023 PICTORIAL STORY photography ANASTASIYA PENTYUKHINA story MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link If you ever struggled to learn or to keep up with your chess, imagine doing it with your eyes closed. Documentary photographer Anastasiya Pentyukhina has shed light on the unique challenges that visually impaired people face in the world of chess. Born in 1993 in the village of Pokrovo-Prigorodnoye, Tambov Oblast, Anastasiya spent her childhood and received her education in a small town 500 kilometers from Russia's capital. Growing up there has sensitized Anastasiya, making her more understanding and aware of the issues of people who live outside of the political arena, busy attending to their everyday lives. Anastasiya has been living in Moscow since 2015, and her personal projects have sought to address this social inequality and promote inclusivity. In her latest ongoing project, Anastasiya has explored the world of blindfolded chess, which is a practice used by many chess players to increase their skill level without actually seeing the board – a challenge that is taken for granted for the visually impaired. Players must rely on their memory and spatial thinking skills to play the game, which can only be developed through regular practice and solving problems. The chess community is also an invaluable asset for visual impaired players, as it provides the support needed to attend tournaments and competitions. However, these activities are not always supported by government grants, and the organization of tournaments and team management often have to be funded by enthusiasts. Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often-overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players. Through her work, Anastasiya hopes to draw attention to the importance of inclusivity in sports and the need for better support for visually impaired chess players. Anastasiya’s journey into photography began simply, with a smartphone in 2013. Two years later, the gift of her first digital camera sparked a deeper curiosity, drawing her toward the rhythm and pulse of street photography. By 2019, she refined her vision, expanding her understanding of visual storytelling. This path led her to documentary photography, where she sought not only to capture moments but to invite viewers into them. In the following year, Anastasiya embraced the art of photo stories, shaping images into narratives that reveal complexity and depth—an enduring reflection of her commitment to growth and exploration. Chess is an important part of the culture in Russia. it has become part of the fabric of Russian society. The story of Soviet chess begins during the Russian Civil War, when chess was enlisted as a training tool for military recruits to sharpen their critical thinking and hone their strategic skills. Chess has been part of children's curriculum for most Russian schools for more than 40 years. Adolescents were encouraged to play chess at a very early age to increase their problem solving and reasoning skills. The Soviets put vast resources into developing a league of grandmaster champions and a profound chess culture. It was in the summer of 2021, in the city of Klintsy, Bryansk Oblast, on the border with Belarus and Ukraine, that Anastasiya first encountered Blindfold Chess. Unfortunately, due to miscommunication and schedule changes, the competition had already taken place a week before Anastasiya's arrival. Nevertheless, Anastasiya decided to stay and glean as much information as she could about the world of chess for the visually impaired. Anastasiya learned from the head of the All-Russian Society of the Blind in Klintsy, that there were a lot of players and that tournaments were held often. Seizing the opportunity, Anastasiya took a portrait of Nadezhda Vekshina, serving as the starting point for her project. Through her diligent exploration and commitment to her studies she made valuable connections in the Blindfolded Chess community. She found her heroes through authentic conversation, giving her a greater understanding of the world of Blindfolded Chess in Russia. Inspired by her studies and conversations, Anastasiya decided to travel the length and breadth of Russia, interviewing and photographing the players of Blindfolded Chess. She wanted to capture their unique perspectives and document the game from their point of view. Anastasiya was particularly interested in how they perceived the game differently than sighted players and if certain techniques or strategies were employed differently. “I talked with people there and realized that this topic touches me and I wanted to go into more detail. Few people think about the life of the blind community. A lot of my friends were surprised to learn about the existence of chess for the blind. I myself was just as interested. Before that point, I had no experience working with the visually impaired. I read many articles about chess for the blind, but they weren’t comprehensive enough. I mostly got information from my heroes.” The chess players have to rely on their own creativity and inventiveness to make the game more accessible for them. They use their hands to feel the pieces, and they develop a system of verbal descriptions that allow them to communicate the moves they are making. For tournaments, they use specialized board markers. It is a testament to everyone’s ability to adapt and find creative solutions, even when faced with seemingly insurmountable obstacles. During her time with the players, Anastasiya witnessed the profound joy that the game brought them. For many of them, it was a way of life, something that brought them together and helped bridge the gap between sighted and non-sighted people, giving them a valuable sense of community. Anastasiya has gained a deeper understanding and appreciation for the game of Blindfold Chess and for the amazing people who play it. It is a unique experience, one that she will never forget. “As I traveled to different cities in Russia over the weekends, I began photoshoots at the heroes' homes, chess clubs, and workplaces. It was important for me to create a comfortable and familiar atmosphere, so I spent approximately 3-4 hours with each sportsperson. During our time together, I made sure to delicately ask about their biographies and health, and we often talked and joked about different topics.” As Anastasiya documents the lives of the people she meets, she notices that these role models are strong, dedicated, and incredibly brave. She is inspired by their determination, and passion for life despite their visual impairments. She understands that these people want to be recognized for who they are and for what they can do. What Anastasiya has learned is to never give up. They have taught her that even when things seem impossible, there is always a way. Their dedication, strength, and courage will always be a source of inspiration and admiration for Anastasiya. Anastasiya hopes to continue her project and share with others the stories of these remarkable role models. Komissarov Aleksey, FIDE Master (FM). © Anastasiya Pentyukhina Evgeny Suslov told me that he started losing his eyesight in childhood. In order to read books and learn chess on his own, he had to study with a magnifying glass, which greatly reduced the speed of learning but never stopped him. The photo was taken at the children's center in Ivanovo, where he teaches. © Anastasiya Pentyukhina Babarykin Stanislav, FIDE Master (FM), World Champion. © Anastasiya Pentyukhina Smirnov Sergey, two-time World Champion. © Anastasiya Pentyukhina Special Braille chess set is used to play. All the Black squares are raised a couple millimeters above the white ones. Each square has a hole in the center so that the pieces can be fixed in them. © Anastasiya Pentyukhina Vitaly Vertogradov works as an astrophysicist and teaches at Herzen University. Volunteers help him read all the formulas. He is completely blind. The photo was taken at Herzen University in St. Petersburg. © Anastasiya Pentyukhina Kovnerev Sergey, ex-head of The All Russia Association of the Blind in Smolensk, chess competition’s organizer. © Anastasiya Pentyukhina Chigarev Damir, multiple champion of the Uzbek Soviet Socialist Republic. © Anastasiya Pentyukhina Ivanov German, multiple champion of Russia in team tournaments. © Anastasiya Pentyukhina Garanin Danil, chess competition participant. © Anastasiya Pentyukhina Yulia Taranenko worked as a chess teacher at a children's school in Korolyov and had been planning to quit. I captured an important moment for her: the end of her career as a teacher at this school. The photo was taken in the children's chess school Debut in Korolyov. She is a hereditary checkers and chess player. Her mother is also one of the strongest players and a teacher. © Anastasiya Pentyukhina Anastasiya’s Pentyukhina’s journey with Blindfold Chess has been more than a photographic exploration — it has been a quiet unfolding of resilience, ingenuity, and human connection. In documenting this overlooked world, she has not only captured faces and gestures but revealed a deeper truth about the adaptability of the human spirit. Her camera became a tool for listening as much as for seeing, offering space for stories that too often remain untold. These encounters — grounded in care and respect — have reshaped her understanding of strength and possibility. As she continues her work, Anastasiya carries forward the voices of her subjects, inviting others to witness their dignity and the profound ways they navigate the world. view Anastasiya's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

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. 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. October 5, 2025 INTERVIEW PHOTOGRAPHY Rivka Shifman Katvan INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE With eyes that listen and a heart that sees, Rivka Shifman Katvan moves through the world noticing what most overlook. Her focus goes beyond mere observation, finely tuned to the subtle truths that emerge in the spaces between moments. Her camera carefully listens to her subjects, scanning the room for visual narratives that reveal the authenticity of the experience. The shutter is released when she becomes attuned to the delicate interplay of emotion and energy unfolding around her. Rivka has mastered the ability to capture the hushed whispers and sacred intimacy of a Broadway dressing room without disturbing its delicate balance, whether in moments of calm or in the energy and movement that fill the space behind the scenes. For decades, she has slipped behind curtains, both literal and emotional, quietly witnessing moments of transformation. Not posed or performed, but naturally unfolding. “I became like a fly on the wall,” she once reflected about her early backstage days, “walking on tiptoes, learning how to be discreet in other people’s private spaces.” There is a remarkable gentleness in her approach combined with a profound presence. This blend of quiet curiosity and unwavering attention has become her unmistakable signature. What gives Rivka’s photography its quiet power is that it never demands attention. It reflects a presence that waits, observes, and belongs without needing to announce itself. She doesn’t insert herself into the frame. She listens, she waits, and in time her presence becomes part of the atmosphere, unnoticed, but essential. That’s when something honest appears. A weary actor meeting their own gaze in the mirror. A dress being fastened with deliberate tenderness. A brief glance shared just before the lights go up. These are the moments she catches. And somehow, without ever breaking the stillness, she lets us feel as if we were standing there too. In a world that so often confuses volume with presence, her images remind us that the most lasting stories are told in whispers. Rivka’s eye is compassionate, steady, honest, and quietly insistent. That rare combination opened doors to places most photographers never see. For years, she was a constant presence behind the scenes of Broadway and the Tony Awards, not just as a fine-art photographer, but often the only one there. Even more remarkably, she was one of the very few women documenting those private, high-pressure moments. She didn’t force her way in. She was invited. And once inside, she made herself small enough to disappear, allowing others the space to truly reveal themselves. Her presence carried a quiet authority. “It taught me how to put people at ease and gain their trust,” she says. And you can feel that trust in her images. There’s no posturing, no performance. Just people in transition: between characters, between emotions, between selves. Over time, her body of work has earned recognition from major institutions like MoMA, the Victoria and Albert Museum, and the International Center of Photography. But her true legacy lies in the intimacy of the moments she’s preserved. When you look at Rivka’s photographs, you don’t just witness a moment. You become a silent witness to something deeply intimate. You step into an unspoken narrative. Whether she’s capturing Elizabeth Taylor collecting herself before making a storm of an entrance in The Little Foxes, or catching a quiet breath shared by ensemble cast members just offstage, Rivka transforms still images into emotional time machines. It’s not just her camera that creates this effect but her ability to see, looking with both critical precision and creative intuition. Her process blends instinct and intellect. She watches carefully, waits quietly, and frames what others might overlook. The result is not simply a record of events but a distillation of feeling, with each image offering a glimpse into the emotional truth of a fleeting moment. Her book Backstage: Broadway Behind the Curtain (Abrams, 2001) is exactly what its title promises. It is a lyrical archive of hidden theater history, rich with atmosphere, emotion, and the fleeting beauty that disappears the moment the spotlight shines. These are not just glimpses from the wings, they are quiet portraits of transformation and humanity. We see actors in moments of reflection, crews at work, and the subtle pauses that come just before a performance. In the end, it is not the subject that drives her. It is something deeper. A restless sense of curiosity. A strong trust in intuition. A constant desire to see the world with fresh eyes, never dulled by repetition or routine. She moves through the world with the same attention she brings to her work. Focused, thoughtful, and completely present. This interview is not only a look into Rivka Shifman Katvan’s photography. It is also an invitation to see as she sees. With clarity, generosity, courage, and care. “I never allowed my theater work to define me as an artist. I carry my camera everywhere, capturing vignettes and moments that speak to me.” IN CONVERSATION WITH RIVKA SHIFMAN KATVAN TPL: You have described your early backstage work as becoming “like a fly on the wall.” How did you develop that sense of discretion in such high-pressure environments, where nerves, egos, and performance energy run high? RIVKA: When I first came backstage, I could immediately feel the pressure, the energy, the stress — it was all around me. At the beginning, I didn’t direct anyone or use flash. I simply observed and made myself invisible. I didn’t ask anyone to pose. I walked quietly, “like a fly on the wall.” Eventually, people forgot I was even there — and that’s when I could truly capture the real, unfiltered moments. TPL: Many of the moments you capture are deeply personal and often unguarded. How did you develop the discretion needed to move through such high-stakes environments — like Broadway dressing rooms — without disrupting the energy? And more importantly, how did you build the kind of trust that made people welcome your presence, rather than want to swat that “fly on the wall” away? RIVKA: By respecting them — and their space. I never imposed myself. After a few visits, people started feeling safe around me, and that trust grew naturally. Every time I returned, I would bring prints from the previous shoots and give them as gifts. They loved that. Trust happens when people feel they’re not being judged. It’s about creating safety. TPL: Looking back to your 1979 thesis at the School of Visual Arts — did you ever imagine it would blossom into such a long and defining relationship with theater? Or did you always see it as a starting point for something larger? What advice would you give to seniors at SVA today? RIVKA: No, I never imagined it would lead to so many years backstage. I simply followed what I loved. I was curious — and I kept going. One professor gave me advice that I followed: “Go out and shoot at least two rolls of film a week.” I would pass that advice on to students today — even in the digital age. Go out, shoot, and shoot again. Something magical will happen. Follow your heart, let your curiosity lead the way, and your work will grow. One day you’ll look back and realize you’ve created a body of work. TPL: You’ve spent years photographing some of the most iconic actors and artists of our time, yet you’ve said you don’t let “well-known images define you.” How do you keep your voice distinct when photographing both the celebrated and the anonymous? RIVKA: What interests me is the human being — not the celebrity. I always look for the person behind the image. That’s especially true in my Backstage project. I’m not chasing fame — I’m looking for authenticity. TPL: There’s a strong thread of surrealism in many of your street and reflection series — especially the mannequins and window reflections. Do you see these images as narrative or abstract? And what draws you to that border between real and imagined? RIVKA: I’ve been photographing reflections since I was a student at SVA. For me, these images are both abstract and narrative. The way mannequins merge with NYC buildings creates its own story — and over time, they also reflect the transformation of the city itself. I work in black and white for this series because it strips away distraction and focuses the image. I don’t digitally manipulate the photos — I use Photoshop the way I would use a darkroom: just dodging and burning to bring out the best in the image. TPL: You have spent much of your career working in environments that have historically been shaped and controlled by men, from the backstage worlds of Broadway to moments of raw emotional openness that are rarely documented with such sensitivity. Do you feel that your gender influenced how you were perceived or the access you were given? And how have you navigated or shifted those dynamics over time? How have you helped to change those old narratives? RIVKA: No, I don’t think my gender played a role. What mattered most was respect. I respected the people and their space, and over time that created real connection. When I’m backstage, I feel the excitement and energy of the actors, and that energy flows into my creativity. TPL: Do you see any parallels between your creative process and performance art? Do you feel in the moment you become part of the fabric of the performance itself? RIVKA: Yes, definitely. When I’m backstage, I feel the excitement and energy of the actors, and that energy flows into my creativity. I may not be on stage, but I’m very much a part of what’s happening. TPL: What do you wish more people understood about the backstage world? Is there a myth you’d love to dispel or a truth you wish was better known? RIVKA: Some people imagine backstage is all glamour. But it’s actually a high-pressure environment that demands incredible energy and focus from the actors. It’s real work — intense, emotional, and vulnerable. TPL: Your collaboration with your husband Moshe on the Artist Portrait series is a different kind of intimacy — artistic and relational. How does working with someone so close to you shift or deepen your creative process? RIVKA: Working with Moshe is very special. We have different styles, but we understand each other deeply. He helps me see things I might miss, and I do the same for him. There’s a strong mutual trust, and that kind of support makes a big difference in the work we do together. TPL: Your series Bare Exposures brings together images some audiences may recognize alongside others never before publicly shown. What inspired you to present this collection now, and what meaning or feeling do you hope it conveys to viewers? RIVKA: This series is part of a fundraising project for Broadway Cares/Equity Fights AIDS. The actors volunteered to be part of it — they chose to share their presence and their bodies for something meaningful. That touches me deeply. It feels like a big family coming together for a cause, and I’m honored to be part of that. I donate photographs to the auction each year because I believe in the work they do. The actors are proud to be involved, and I hope viewers can feel their strength and generosity. TPL: The title Bare Exposures suggests both physical and emotional vulnerability. Without giving too much away, can you talk about what you were exploring thematically in this work? RIVKA: I was exploring openness — not just physical, but emotional. These are actors, but in this project, they’re not performing. They’re simply showing up as themselves. There’s a quiet strength in that kind of vulnerability. It’s simple, but powerful. TPL: After decades of work across themes, genres, and geographies, what still surprises you when you raise the camera? What keeps you inspired — not just to shoot, but to see? RIVKA: I’m still surprised by small moments. A glance, a gesture, a flicker of emotion — those things never get old. What keeps me inspired is curiosity and trusting my instincts. As long as I stay open, the work keeps evolving. To witness the work of Rivka Shifman Katvan is to be invited behind the curtain. But her camera doesn’t just reveal; it respects. With Bare Exposures, Rivka returns to the theatrical world that first ignited her career, not as a nostalgic revisitation, but as a bold act of revelation. She writes of how this backstage universe taught her to be “discreet in other people's private spaces,” a skill that allowed her to capture not just the drama of performance, but the delicate, often unseen moments of emotional and physical transformation. Her camera became a confidante, her presence a quiet collaborator. Bare Exposure is a study and project born of trust, observation, and deep reverence for the private rituals of performance. In these images, actors prepare not for applause, but for metamorphosis. We see them suspended in states of becoming. In this rare body of work, intimacy and theatricality coexist, and vulnerability is given room to breathe. Like a chameleon, she easily adapts and changes, blending into her surroundings so fully that her presence never disrupts the authenticity of the moment. But Bare Exposures is only one dimension of a storied career that spans more than four decades. Rivka’s photographs have been exhibited in some of the most prestigious institutions in the world — including the Museum of the City of New York, the Museum of Television and Radio, the International Center of Photography, the Victoria & Albert Museum, and MoMA. Her images have appeared in The New York Times, The Guardian, Harper’s Bazaar, Blind Magazine, and beyond. She has received awards from the International Photography Awards and B&W Magazine, and her work has been collected by both public and private institutions, including the permanent collections of the NYC Historical Museum and the Museum of the City of New York. And while her backstage photography is iconic, she has never allowed it to define her. Rivka’s artistic reach extends from the raw energy of Cus D’Amato’s boxing gym to the lyrical abstractions of window reflections, from street photography in New York to collaborations with inmates at Sing Sing. Her visual stories move across different worlds, yet each one is shaped by the same quiet truth. They are as expansive as they are intimate, guided by the belief that “my heart and my eyes are interchangeable.” Bare Exposures invites us into a space of quiet change. Rivka’s photographs do not simply document, they reflect moments when people shift, grow, and reveal something true. In her work, we are reminded that transformation is not always loud. Sometimes it happens in a glance, a breath, or a pause. And in those subtle moments, Rivka is fully present, recognizing what matters before it disappears. To view Rivka’s Bare Exposures series, click on her portfolio below. VIEW RIVKA'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.

STREET POETRY French journalist Damien Goret captures the poetry of walkers, rainy days, and the graphic geometry of shadows on sunny days. STREET POETRY March 5, 2021 INTERVIEW PHOTOGRAPHY Damien Goret INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As a journalist and passionate photographer, Damien Goret has an eye for the seemingly mundane moments that fill our days, from the poetry of a solitary walker to the graphic geometry of light on a sunny day. With his ability to capture deep blacks, pure whites, and all the shadows and highlights in between, Damien Goret's photography breathes life into everyday moments, freezing them in time and reminding us of their beauty. From natural landscapes to cityscapes, each one of his photographs is a unique snapshot of our world. “I think I've always had, more or less, a taste for photography. I love photography for a simple reason. It allowed me to bypass one of my great weaknesses, one of my great regrets: I am a bad draughtsman. I photograph as I would have liked to know how to draw. By projecting scenes, imagining lines. It is thanks to my work as a journalist that I learned to formalize my practice of photography, to be interested in the settings of a camera, to understand its logical workings.” IN CONVERSATION WITH DAMIEN GORET THE PICTORIAL LIST: Damien please tell us about yourself. DAMIEN GORET: I was born in Brest, one of the westernmost cities in France, 43 years ago. After living 10 years of my youth in Africa, I came back to live, settle, work and start a family in the Region of Brest. I now live in a small town 20 kilometres from Brest, called Plouarzel. Beyond Plouarzel, there is nothing but the sea, then the United States. TPL: Do you have a favourite quote, lyric, or saying that especially resonates with you? DG: In terms of photography, I really like this phrase by Ernst Haas: "I am not interested in shooting new things - I am interested to see things new. " I think it sums up very well the photos I want to make today. I am not looking for the spectacular, but in search of what is spectacular about everyday life, and that too often eludes us. TPL: Where do you find your inspiration to photograph? DG: I find my inspiration in the other. The other photographer, the other human, the other draughtsman, the other painter, the other director. TPL: Your street photography has this wonderful graphic feel to it. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? DG: The street photo as I imagine it is a graphic image, yes. I always come back to these stories of shadows, of lights, two elements that alone draw a landscape, a geometry. I'm not very much inclined towards street portraiture. I really want to reveal things that we see every day without seeing them: the shadow of a lamppost on a wall; the shade of the trees on a sunny façade; a person's silhouette, more than the person himself. Because this is the third element necessary for street photography as I imagine it: it is a photo where the human has its place. I like the idea of the gigantism of cities that engulf men. TPL: What is it that you enjoy about street photography. What happens when you walk the streets with your camera? Explain your technique? Have you ever had a negative encounter? DG: What excites me is the spectacle that everyday life offers. Things I didn't see before. Places that I have traveled to thousands of times are open to me, one day, in a new light. Because that day, I'm probably more open to the world. Because, on that day, I probably did not know that I had passed this place at the same time as yesterday, and because the light of day makes me see things that did not exist the day before. I love this feeling, this feeling that nothing belongs to me, that nothing is fixed, that today will not look like tomorrow. Photography made my life exciting and allowed me to fight against my anguish of the passing of time, my fear of death. When I'm photographing, I'm stopping it, this time. I'm freezing life. It becomes, for a moment, eternal. TPL: What is it like photographing on the streets of France? Do you have any favourite spots in France and outside of France to go shoot? DG: I am a fairly sedentary photographer, but I work in a profession that leads me to move around a lot. It's a real chance, to spot places, geometries. I never go out without a camera. I live and work in relatively small cities, where I am obliged to be on the lookout. I mean: I guess doing street photography is maybe easier in Paris, London or New York. Photography made my life exciting and allowed me to fight against my anguish of the passing of time, my fear of death. TPL: What has been the best advice you have ever received in photography? DG: I think one of the mantras of the wonderful photographer Sean Tucker opened my mind to photography, and especially to street photography, which I now practice 90% of my time: "Embrace your shadows". There is nothing more beautiful than the shadows that come to cut out the lights and shape them. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DG: Clearly, Fan Ho shook me up. Harry Gruyaert too. Among the more contemporary photographers, Sean Tucker inspires me by the elegance of his lines, the quality of his shadows, and the relevance of his eye. On Instagram, where I am a lot, there are also several photographers whose work always makes me think of a tennis player forehand, Tom Schippers, for the loneliness that floods his images; Kentaro Watanabe for his black and white and his sense of graphic design; Ingrid Clauwaert for the vastness of her cities engulfing men; Magali Kermaïdic, whose Brest origins I share but not her talent (laughs); and so many others... 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? DG: I am now working with the camera I dreamed of when I started in street photography: a Ricoh GR (the II, in this case). But when I started, I was photographing with an Olympus EM10 Mark II, which I loved. The Ricoh GR II is as I imagined it: a street photo killer. The nose-down of its optics is superlative, maybe even better than the Nikon D7200 that I own in SLR. Its snap mode is truly amazing, once you understand how it works. I just regret it's great weakness in terms of dust, with a sensor that is very sensitive to it. I've had it 3 months, I take great care, and it already has annoying dust specs on the sensor. This Ricoh GR II allows me to make street images that I couldn't have done as easily with my Olympus, let alone with my SLR. TPL: When you go out, do you 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? DG: I don't have any ideas when I go to photograph. Like I said, I always go out with my camera. When I see something that appeals to me, and if I have time, I stay put in a spot for 5 to 10 minutes and I wait: I wait for the event that I projected in this scene. Thus, I also have time to adjust my shooting, always in manual mode, to preserve my highlights, respect my shadows. Manual mode is important to me: I want to know everything about my photo, I want to master all the settings...except what will happen there! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? DG: When I “grow up”, I want to photograph like Tom Schippers 😉! I told him that on Instagram. I always look at his photos and regret not knowing or being able to make them! I would like to find the courage to exhibit my photos, but I remain someone quite discreet, who has a hard time feeling legitimate in what he does. There is a lot of shyness, and the impression, often, of being an impostor, of not deserving to see my photos recognized. I still judge them pretty badly, even if I like them. But are they worthy of "staying", of being seen...? I have no pretensions in that regard. To exhibit some of them would nevertheless be something I would like to do. TPL: "When I am not out photographing, I (like to)… DG: Play a lot of board games with my wife and children. I also ride a lot of road bikes. And when I'm not photographing, I like to look at the world as I would like to photograph it." Damien Goret's photography has a way of making us pause and recognize the beauty of everyday moments. His photographs capture the poetry in the mundane, the stunning geometry of light, and the vibrant colors of our world. He has an eye for beauty, and his work shows it. If you want to appreciate the world in a way you've never seen before, view more of Damien's work. VIEW DAMIEN'S PORTFOLIO Damien's 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.

Konrad Hellfeuer is a German freelance artist who specialises in photography and drawing. He has always been interested in art and started to develop his skills at a young age. After completing his schooling, he decided to pursue a career as an artist and has been working as a freelance artist ever since. Konrad's work is characterised by its attention to detail and its ability to capture the essence of a moment or subject. He has a keen eye for composition and light, which results in stunning images that are often evocative and thought-provoking. KONRAD HELLFEUER Konrad Hellfeuer is a German freelance artist who specialises in photography and drawing. He has always been interested in art and started to develop his skills at a young age. After completing his schooling, he decided to pursue a career as an artist and has been working as a freelance artist ever since. Konrad's work is characterised by its attention to detail and its ability to capture the essence of a moment or subject. He has a keen eye for composition and light, which results in stunning images that are often evocative and thought-provoking. LOCATION Görlitz GERMANY CAMERA/S Sony Alpha 99 WEBSITE https://www.konradhellfeuer.com/ @HELLFEUERKONRAD FEATURES // Eternity

PICTORIAL STORY WHERE THE WAVES MEET THE OCEAN Uma Muthuraaman explores the idea of finding in ourselves what we seek in other people and places — like waves searching for the ocean, being it, and not knowing it. August 6th, 2023 PICTORIAL STORY photography UMA MUTHURAAMAN story UMA MUTHURAAMAN introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Welcome to the world of Uma Muthuraaman, an Indian-born photographer, writer, brand strategist and mother based in Zurich. She has a special talent for capturing the forever in the fleeting and the magnificence of the mundane, telling stories with wit and wisdom. Her captivating photos take us on a journey through her Asian roots, Indo-European experiences and her vast globetrotting. Uma has a deep understanding of business, analytics, and creativity, having worked in India, Singapore, and Germany in product communication, creative ideation, conceptualization, and storytelling. She is passionate about social projects which she calls, “heart work (because they tug at my heart and fill me with a sense of purpose)” — volunteering for social causes like homeless animal adoption via the Blue Cross of India in Chennai, literacy projects in rural India, and teaching meditation breath workshop on the weekends. Her ongoing project Where the Waves Meet the Ocean began on her last trip to Chennai, India, where she was born and raised. With this series, Uma invites us to experience the unique patterns of a place and look at our surroundings with full awareness. Through this project, she explores the idea of finding in ourselves what we seek in other people and places — like waves searching for the ocean, being it, and not knowing it. We invite you to join Uma on this journey of exploration and self-discovery. Set aside your digital devices, pause in the present moment, and let her captivating photos take you away. Travel, for me, is a state of mind and photography - an open eye meditation. I travel every second, and every journey is transformative. In some journeys, I sit still; in some others, I move, often with a camera. Every time the shutter releases, the past and the future blur, enhancing the present – bringing into focus what I would typically miss with a screen in front of me. The photos in this series are a collection of seemingly unexciting moments - mundane moments, as we say. But for me, these moments hold immense wisdom. In the fleeting, there’s a forever; In the mundane, there's magnificence. This series Where the Waves Meet the Ocean is an ongoing project. It started in my last trip to Chennai, India - where I was born and raised. Having lived two decades in Europe, I return home every year with a new inner eye. I see patterns that are ubiquitous yet very characteristic of a place and its people. I see stories I would have missed if I were looking at my phone - stories worth telling and rewriting from a new perspective. The camera allows for a natural digital detox bringing me to the present moment. In a fleeting second, I realise I am the wave looking for the ocean. We experience wellbeing in the analogue life - not digital, yet we tend to seek it digitally when we are not aware. Like the waves searching for the ocean - being it and not knowing it. This realisation sparked an inner journey that led to this photo series. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us. Uma Muthuraaman is a truly inspiring individual who brings the world closer together through her captivating photos and stories. Her ongoing project Where the Waves Meet the Ocean is an incredible journey of exploration and mindfulness. Uma encourages us to put away our digital devices, be in the present moment, and explore the unique patterns and stories of a place with a new perspective. Through her work, we can find well-being in the analog life and experience how the mundane holds immense wisdom. We invite you to explore more of Uma’s work by using the links below. view Uma's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> !

PICTORIAL STORY MODERN NOMADS August 28, 2020 PICTORIAL STORY Photography by Callie Eh Story by Karin Svadlenak-Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Callie Eh is a Malaysia born photographer based in Switzerland. Callie always seeks to challenge herself with what she captures through her lens. She loves learning and experimenting with new cultures, and her passion for photography has changed her view of the world. She travels to different countries, where she likes to photograph people going about their daily lives, telling their story through her lens. Her work has been exhibited internationally, and her photos have been repeatedly featured in the Leica LFI Gallery. Her pictorial story takes you to the steppes of Mongolia. Sandwiched between Russia to the north and China to the south, Mongolia is the world's second largest landlocked country (after Kazakhstan) and home to the famous Gobi Desert steppe. With its desert climate, most of the country is hot in the summer and extremely cold in the winter. Approximately 30% of the population is nomadic or semi-nomadic, with livestock husbandry playing a central role. They live in Gers, or Yurts as they are referred to in Turkic languages, portable, round tents covered with skins or felt. Even when the nomadic population becomes semi-permanent, they prefer to live in these tents, and outside the capital Ulaanbaatar and other smaller urban centres one can find entire districts consisting mainly of numerous Gers standing next to each other. As many as 61% of Ulaanbaatar's population are estimated to live in the Ger district (approximately 736,000 residents). The nomads Callie visited, however, still live in small settlements in the countryside and follow a traditional herding and animal husbandry lifestyle. Domestic livestock ranges from cows to sheep, goats, camels, yaks, and — most precious — horses. Traditionally, Mongolians make their own butter and cream, cheese and yoghurt out of yak milk. But not only cows are milked, horse mares too. The nomad families are proud of their fermented mare's milk. This is an important drink that is also offered to greet guests of the family. Here it is used for a drinking game. The young children already learn herding tradition and other farming skills, and the animals are both a source of income, food, and companions. The children in particular enjoy playing with them. Their livestock is very precious to the nomads, and the whole animal is used from head to toe, including the innards. Sheep are driven into a pen every night to keep them from wandering off and protect them from predators — a daily task for the boys. The fur of the goat is either used for clothing or as insulation for the Gers in the cold winter months used. Mongolian cuisine is rooted in their nomadic lifestyle, and thus includes much dairy content and meat, but few vegetables. A favourite meat dish is Buuz, dumplings (similar to ravioli) filled with meat and vegetables and then steamed, mainly for holidays or special occasions. Even the bones of the animals are used. The children use cleaned and polished knucklebones from sheep joints as toys. Each of the four sides of the knucklebone represents a different animal (a horse, sheep, camel, and goat). There are many variants on this game, and some are even enjoyed by adults. The Shagaa game, for example, is the flicking of sheep ankle bones at a target several feet away, trying to knock the target bones off the platform. Horses hold a special place in Mongolian's heart and of all the domestic animals are held in highest esteem. Mongolian nomads are considered to be some of the best horsemen in the world. Some three million horses are kept in Mongolia, more than the country's human population. They are used for riding in the nomads' daily work and in horse racing, as well as for food. Historically, Mongolian horses were a key factor during the 13th century conquest of the Mongol Empire. During the most important Mongolian summer festival, the Naadam, people organize long-distance races and trick riding shows, as well as other sports competitions. (Archery, cross-country horse-racing, and wrestling are the traditionally recognized "Three Manly Games" of Naadam.) In Mongolia, barns, pastures and stables are an exception. Generally, horses are allowed to roam free and feed themselves. Even in the harsh Mongolian winters, the horses are usually simply allowed to graze freely on the steppe, digging through the snow to find forage in the winter. Occasional harsh climatic winter conditions known as zud, which is a natural disaster unique to Mongolia, can result in large proportions of the country's livestock dying from starvation or freezing temperatures or both. When that happens, it places a heavy economic burden on the herder families. The little foal peeking into the Ger in Callie's photo is hoping for milk. Because it is an orphan, it has to be fed mare's milk by hand by the family. The clever animal knows exactly where the milk is. To milk the mares, they have to be separated from their foals. Given the high value placed on horses in Mongolia it is no coincidence that the country is also home to the last few truly wild horses, the never domesticated Takhi, as the Przewalski's horses are called in Mongolia. These are not feral domestic horses, but a completely distinct species that are genetically speaking not ancestors of today's domestic horses. Having gone extinct in the wild, they were reintroduced to the Mongolian steppes from remnant zoo populations in the 1990s. They are not the types of horses kept by Mongolian herders. FAMILY CHORES Family is important in Mongolia. The little girl sitting here with her grandparents is having a snack: pine nuts straight from the cone, a seasonally limited snack fresh from the tree that is popular with young and old alike. The children are very much involved in day-to-day household tasks and farm work. They attend school but during holidays and on weekends they support their parents. Even the smallest ones help and seem proud to be involved. In Mongolia electricity is very limited, and households make do with low-light situations after dark, rationing the electric supply. Some Gers now have photovoltaic panels on the roof. Cooking and washing dishes are still done in very traditional ways, and water is severely limited in Mongolia's desert climate. The Gers do not have running water, so the nomads have to fetch water from a nearby river. The boys usually help with the father's activities. There are also unpleasant tasks to be carried out, such as mucking out the paddocks. Mongolian tradition involves cutting children's hair in a special ceremony called Daah Urgeehc when children are between the ages of two and five. About half of the Mongolian population are Buddhists nowadays. During much of the 20th century, the communist government repressed religious practices and targeted the clergy of the Mongolian Buddhist Church, killing many. When the communist regime fell in 1991, public religious practice was restored, although according to the 2010 national census 39% of the population is non-religious. Tibetan Buddhism, which had previously been the predominant religion is still the most widely practised religion in Mongolia, however. Despite their traditional lifestyles, Mongolian nomads use modern transport like anyone else. The road network is rapidly expanding. There are paved roads from Ulaanbaatar to the Russian and Chinese borders, from Ulaanbaatar east and westward (the so-called Millennium Road), and from Darkhan to Bulgan. Many overland roads in Mongolia are still gravel roads or simple cross-country tracks. A yak milking competition provided a chance for Callie to see and know how Mongolian women milk the yak in their daily life. © Callie Eh Fermented milk is a popular drink and an important source of income in Mongolia. The farmers milk their cows twice a day. © Callie Eh Taking the bull by the horns can be a game taken literally, especially by Mongolian herder boys. © Callie Eh Airag, fermented mare´s milk as a special treat. © Callie Eh © Callie Eh © Callie Eh © Callie Eh © Callie Eh © Callie Eh © Callie Eh Lkhagwa, a 6th grade student studying at the school in Bat-Ulzii village, is fetching water from the river. © Callie Eh Helping on the pasture. © Callie Eh © Callie Eh © Callie Eh © Callie Eh © Callie Eh This little girl was feeling very shy because of her short hair. © Callie Eh Batsaikhan Oyun praying for peace, compassion, strength, and wisdom at a small stupa with prayer flags. © Callie Eh Batsaikhan Oyun proudly posed for Callie on his favorite motorbike. © Callie Eh © Callie Eh Although many nomads now move to the city in search of education and better economic opportunities, according to a World Bank report at least a quarter of them still live as nomadic herders, something that is important to their cultural identity. But herding is a hard life, and three out of five people living in poverty in Mongolia are herders. It remains to be seen for how much longer this lifestyle will remain intact, as more young people are moving to urban areas. view Callie's portfolio Read an interview with Callie >>> Website >>> Instagram >>> Sources used in this story - Personal interview with the photographer Engel, David (2015). Ulaanbaatar's Ger District Issues: Changes and Attitudes. School for International Training Hiraga, Masako, Uochi, Ikuko, Doyle, Gabriela (2020), Counting the uncounted – How the Mongolian nomadic survey is leaving no one behind. The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

PICTORIAL STORY THE FRANKINCENSE BOY In the village of Poshina, France Leclerc met Sahib — a young boy whose quiet curiosity and calm presence created a moment of shared connection. January 19, 2024 PICTORIAL STORY photography FRANCE LECLERC story FRANCE LECLERC introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Originally from Quebec, Canada, France Leclerc is a photographer who has developed a sincere passion for visual storytelling. Being Canadian is an integral part of who France is; she embraces her French heritage, language, and culture. France spent much of her adult life in Montreal until attending graduate school at Cornell University receiving her PhD in management. After receiving her degree, France became part of the faculty at MIT School of Management, as well the University of Chicago Business School, where she was a professor of global marketing. While residing in Chicago it became apparent to France that the path of academia was not the right direction for her, she lacked the passion and commitment that her colleagues who were fully devoted to their work. She decided to change her direction and took a series of classes in a small photography school in Chicago. France found comfort in her steps forward on her new path, continuing to take workshops to feed her new passion, and inspire new ways of critical thinking through the use of her camera. Taking time off gave France a new start, a chance to rediscover the world in new ways. She started traveling to remote areas in Ethiopia, Tibet, Myanmar, each time returning from her excursions with a fever to tell her stories. This is when life changed for France, she had found her passion. Her love for traveling to other places around the world has provided ample opportunity for her to immerse herself in many different cultures. France finds authentic connections in the communities she engages, giving her a clear voice that speaks for the people she photographs. “As a child, being part of the French minority in English Canada, I learned that one may have to fight to preserve a culture. Maybe this is where my interest in cultures originated, I don’t know. I have always been fascinated by the 'world' and curious about its diversity, challenges, and the resilience of human beings, particularly women. I have spent time in over 100 countries, and I have visited many of them multiple times.” Now residing in Chicago, France has spent many years traveling while searching for clues and answers to better understand human behavior, why people behave the way they do. This search has fueled France’s curiosity throughout the years, inspiring what she has defined as 'Life Photography'. Her focus has allowed her to capture the beauty in the moment, making visual and emotional connections inherent to different cultures in society. “I am interested in portraying the way people live, play, eat, dress, interact, celebrate, pray and love. My interest in photography is closely related to my interest in storytelling. Coming back from a trip, I have so many stories to tell, and what better way to tell them than with images.” France’s documentary exploration often brings her to obscure out of the way places around the world, where she embraces the community finding captivating stories for her visual translations. Recently she has turned the focus of her camera to streets, where contemporary life and issues inspire her frames. “I aim to document what I see and share it with the world. When I return from a trip, I write stories around my images and post them on my website. I have over 100 of them now. I hope that the more people know about other cultures and ways of life, the less threatened they will feel by them, and who knows, maybe they will get inspired by them as I often do. It is probably a naïve view, but I feel so privileged when I learn something new I have to assume others, at least some, feel the same way.” France has shared one of her captivating short stories with us, it is a beautiful example of exploring with open eyes and with a clear mind discovering endearing connections to community, respectfully sharing their stories with genuine interest and care for her subjects. This intriguing story takes place in the village of Poshina, Gujarat. I met Sahib in Poshina, a village in the northern state of Gujarat, close to the border with Rajasthan. At dawn, I started walking in the town. I first noticed that a few people were sleeping on the streets, some on a platform in front of an array of small shops. A young boy was awake among them, standing next to a pile of blankets. I waved at him, took a quick photo, and continued to explore further. A couple of hours later, as I retraced my steps to return for what I felt was a well-deserved breakfast, I saw this young boy again. He was sitting on what I assume was his mother’s lap, next to an older boy and a much older lady. The older boy was Sahib, ten years old, looking serious and responsible. I sat with them for a while and learned that the younger boy was his little brother, and the older lady was his grandmother. His father meandered toward us at a later point. Sahib is not from Poshina; he is a wanderer or an itinerant. His family does not have a home. To earn a little money for the family, he burns frankincense in the top tier of a three-tier vessel. Sahib goes around the village, stopping at houses and shops to offer them the smoke and smell of his frankincense that he shares using a small piece of cardboard as a fan in exchange for a few coins. This is his life: he does not go to school; he walks around offering to “purify” people’s lives through a little sniff of his frankincense. After chatting briefly, Sahib announced that it was time for him to start his round, and I decided to follow along. And so, Sahib spent the next few hours in the streets of this small village, chatting with the shop owners, knocking at doors of family homes in narrow streets, and meeting people, some of whom he knew but also new ones. All are welcoming Sahib and his frankincense. At the end of his route, Sahib announced that he was done and was now going to another village for the afternoon. I asked him whether his family would sleep at the same place as last night and if I could return to say goodbye the next day. He said yes. So, at dawn the next day, I went down to the platform where I had seen the little boy the previous morning, ready for another adventure with Sahib. Sadly, nobody was on the platform. I will never have the answers to the million questions I had come up with the previous day, and I will probably never see Sahib’s smile again except in my images of him. But I will never forget our brief time together. © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc © France Leclerc France Leclerc is an observer, listening with her ears and her eyes. She brings her stories to life, allowing the viewer and reader to step into the frames, helping them to make the same valuable connections to the cultures and communities she portrays. As a traveler and visitor to global remote communities, France has found a way to assimilate herself into the cultures she visits, as an observer. Her observations have given her purpose to help expose some of the constraints, misguided views, and blind assumptions made towards individuals or groups in communities globally. Photographing her subjects, France portrays them illuminated in the light of their own being, revealing intimate details through her investigations. She is humbled by her surroundings and shares a true respect and admiration for the people she engages and is mindful and has much admiration for their traditions and daily practices. France’s visual storytelling has been embraced by the photographic community and has been exhibited in numerous curated exhibitions winning prestigious awards. Most recently, her images won third place at the Miami Street Photography Festival in 2022 and third place at the Lens Culture Street Photography Award in 2023. One of her series was a gold medal winner in the Culture and Daily Life category of the Julia Margaret Cameron Award in 2023 and two of her series were included in the Curated Selection State of the World at the Prix de la Photographie, Paris, also in 2023. Her work was featured in Geo Magazine, Dodho Magazine, Lens Magazine and All About Photo. The Pictorial List is grateful for France’s commitment to humanity, and for sharing the inspiration that has provided her with the brilliant ambition to explore and understand the world through her photography. We look forward to the next chapter in France’s novel about humanity and how different cultures navigate sociological constraints as well as celebrate their freedoms. view France's portfolio Website >>> Instagram >>> Twitter >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

Photography is my fashion. A patient observer with a focus on adventure! EMY MAIKE Photography is my fashion. A patient observer with a focus on adventure! LOCATION Baden Württemberg GERMANY CAMERA/S Fujifilm X-Series, Canon EOS 5D Mark iv WEBSITE http://www.emymaike.photoshelter.com @MAIKEEMY @EMY.MAIKE FEATURES // Sta(y-ac)tion Floating Garbage

THE HUMAN STAGE Photographing since the 80s, Pradip Mazumder's passion is to shoot the street with the human element with a strong emphasis on storytelling. THE HUMAN STAGE July 17, 2020 INTERVIEW PHOTOGRAPHY Pradip K. Mazumder INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Pradip K. Mazumder is an American photographer of Indian origin, based in Northern Virginia, USA. He grew up in Kolkata, India, and came to the USA on a job visa, back in 1998. He has been taking pictures since the 1980s. His initial inspiration came from the Indian filmmaker Satyajit Ray. From his films, Pradip learned the fundamentals of photography, cinematography, composition, lighting, and many other essential techniques. Pradip recently shared a story about life along the river Ganges with us. In this interview we took the opportunity to ask him about his photography. “My interest lies more towards the ‘real-world street scenarios’, the present-day society we live in, and how we interact with others in a public place.” IN CONVERSATION WITH PRADIP K. MAZUMDER THE PICTORIAL LIST: Pradip please tell us about yourself. When did you start getting interested in photography? PRADIP K. MAZUMDER: My family and I are based in Northern Virginia, close to Washington, DC, USA. I grew up in Kolkata, India, and came to the USA on a job visa, back in 1998. By profession, I work in the IT industry. It was around the mid-80s when my cousin introduced me to photography. An Agfa Isolette III folding camera from my uncle and the intricacies of aperture, shutter speed, film speed, focus, depth of field…was overly complicated in the beginning! I gradually ventured into the 35mm SLR world with a Pentax K1000 camera, which I still miss from time to time. It was a fully manual mode camera (both exposure and focus) with a 50mm normal lens, and that is how my photography has been shaped. Even today, I shoot mostly in manual exposure mode. Those days, I used to buy B&W 'cut film', which is the leftover film from the BnW movies spooled into 35mm film cassettes, and which local photography stores used to sell at a much cheaper price, compared to the branded ones. I used to get an 8”x 10” sheet print done, from the 36 exposure B&W negatives, and choose from there, the ones I would like to get a print done. The luxury of taking multiple shots at a given scene was limited at that time, so I used to choose my composition very carefully. Gradually, I moved to color negatives, and color transparencies, which was my favorite medium, before moving to the digital format, at a much later time. TPL: Where do you find your inspiration? PKM: I am a big fan of the legendary Indian filmmaker, Satyajit Ray. Watching his films is like learning the fundamentals of photography, cinematography, composition, lighting, and many other essential techniques of moviemaking. He used to do the storyboarding himself using hand sketches, as well as marking the optimal camera position based on the arrangement of the elements and subjects within the frame. He was a master storyteller, as his films are often referred to as “poetry in celluloid” and is typically about humans, humanity, human relationships, and interactions (both external and internal). Ray’s films have always been a big source of inspiration for me, which I think has influenced my photographic style, particularly the visual storytelling aspect, and in terms of the composition, lighting, and the ‘human element’ factor. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? PKM: Apart from Satyajit Ray and Raghubir Singh, I got highly influenced by Raghu Rai, the legendary Indian photographer, and photojournalist. He was a protégé of Henri Cartier-Bresson, who introduced Rai to the Magnum Photos. I remember meeting him once in Kolkata, where he came for the inauguration of a photographic exhibition, where one of my images got selected. That is a prized moment for me. In Kolkata, I used to go to the Photography Clubs, and that is how I got introduced to Henri Cartier-Bresson and his style of “decisive moment” photography. That was such an overwhelming experience for me, as it was a photographic genre that I was not aware of. For me, to describe it correctly, I would have to use the words of Cartier-Bresson himself, “Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera.” Thus started my love for street photography, which to date continues. Another aspect of Cartier-Bresson that amazes me is his work on portraits. I found this book “Henri Cartier-Bresson Portraits” in a used bookstore in Kolkata, and it is still one of my prized possessions. How an environment or the surroundings can play a role in portraying the personality of an individual… This book is a classic example of that. Out of the several iconic images in that book, one picture stands out to me that of Jean-Paul Sartre, smoking a pipe. The image reveals so much about the personality of Sartre himself. I very much love and admire the work of Steve McCurry, who to me, is an institution by himself, and the real living legend in the world of photography today. Looking at his works reminds me of the films of Ray that share the same philosophy of narrating fascinating visual stories, always with the intriguing ‘human touch’ in them. I own many of Steve McCurry’s books and to go over his images, their appeal, and attractiveness, I feel calls for a much bigger discussion. My favorite image by him is the one titled “Boy in mid-flight”, which was shot in Jodhpur, India. It is such a dynamic, well-composed, and gripping image you can feel all the tension going on in that particular scene. To this day, I find it nothing but breathtaking. TPL: Who do you think has most inspired your style? PKM: All of the great visual storytellers, as mentioned above e.g. Satyajit Ray, Raghu Rai, Raghubir Singh, Henri Cartier-Bresson, Steve McCurry… all of them have big influences on my style of photography and my thought process, the way I look at the world through my lens. Instagram has put me back in photography, particularly street photography. After moving to the US, I got busy with my career in IT, settling down, raising our kids, going over the immigration/citizenship process that otherwise put photography in the backstage. I was doing casual photography, mostly of family and friends. However, sometime in early 2018 was when my wife presented me with a Nikon DSLR, which revived my interest in photography. Somebody then pointed me to Instagram which opened up a whole new world around me. I discovered a platform where you can share your work and interact with fellow photographers and audiences globally and realized the enthusiasm and interest in street photography, along with the prospect of interacting with some of your favorite photographers, which would have otherwise not been possible. I started seeing more and more works of Steve McCurry, and my admiration grew for him and his work. I felt so excited when he liked my work or commented on the pictures! In the same way, I came across the work of Bryan Peterson, the bestselling author of so many photography books, and whom I consider my mentor and a real Guru (i.e. a Teacher). There is a saying in Sanskrit, “Knowledge is such a precious wealth, that no one can take it away from you, and it grows, the more you spread it!”. Bryan’s knowledge in photography, to me, fits in perfectly with that quote. If you follow his Instagram feed, you will see that he is always teaching and always sharing his wealth of knowledge so that others can benefit from it. To me, this comes from his genuine love for the art of photography. In my social media experience, I have seen/followed the work of many renowned photographers around the globe and have found Bryan to be unique in this respect! He has always been kind enough to point out some of the key elements in my photography that have helped me to critically analyze my images. I own several of Brian's books, and among them ‘Understanding Exposure’ and ‘Learning to See Creatively’, are my favorite ones. TPL: What do you love about street photography? PKM: With the human element, and with a strong emphasis on the visual storytelling aspect. To me, it is not just shooting scenes like silhouettes against brightly lit colorful backgrounds, which seems to be quite popular in Instagram. My interest lies more towards the ‘real-world street scenarios’, the present-day society we live in, and how we interact with others in a public place. The other thing that I have noticed in Instagram, in the street photography circles, people categorize themselves as color or B&W photographers. I love to categorize myself, as just a photographer, rather a visual storyteller. It is the subject which is paramount to me which dictates whether it would fit in better in color or B&W. So, I have no bias towards any of them, rather I try to go by the contents in a given scene. In my experience though, I have found color street photography to be more challenging than B&W. Within the color frames, there needs to be a harmony among the colors, and sometimes the presence of a dominant color can drag the eye away from the main subject. TPL: Has your style of photographing changed since you first started? PKM: Not really. I have always been interested in capturing the candid shot of people in an outdoor location, which I still do. Previously, I used to shoot trees, in various shapes and forms, and mostly in B&W, which I do not do too often these days. In the street genre itself, when I am not shooting people, the next most interesting subject for me is birds, or more precisely, city birds and how they fit in an urban landscape. Dogs come next, as I naturally have an affinity for both of these wonderful creatures. What has changed for me over the years is the realization of the importance of light in a photographic image, more so in candid street photography. True, there can be no image without light, the word ‘Photography’ from its Greek origin meant “drawing with light” … it is not just light, but the quality of natural light hitting a subject can make all the difference. Sometimes I have felt that “light” itself is the subject of my image, and if I take away that particular light, the image loses its appeal. I always find myself chasing the light, trying to capture some fleeting moments around me before they are lost in the ripple of time. TPL: Do you have a favorite place(s) to photograph? PKM: I would say, New York and Kolkata. To me, both these cities have amazing people and an amazing sense of energy. TPL: How did you have the idea of documenting life along the river in Kolkata? PKM: “The Ganges” by Raghubir Singh, is one of my favorite books on Photography. The book tracks the entire path of the Ganges, from its origin in the Himalayas to its final destination in the Bay of Bengal (a journey of 2600 km). This book is backed by the exquisite photography of people along the banks, whose lifestyle, culture, religion, and habits have been shaped by the river for generations. When I was in Kolkata last January, I did not plan to do a series on life along the river Ganges. I did quite a bit of photography in Kolkata, and the life around the Ganges was a part of it. When I was looking at the images, later on, the idea came to put it in a series and write a story about it. I specifically wanted to highlight the richness in diversity and character of the people in Kolkata, whose lifestyle is very much intertwined with that of the river. Since I am unable to do a whole series like Raghubir Singh, I had to settle for just a part! TPL: Often you focus really closely on people in your street photography. How do you go about it? PKM: In a busy street intersection what I love doing is mixing with the crowd, up to an extent that nobody is paying attention to me. I love the feeling that I am part of the crowd itself. From there, if I come across the right scene that provides a backdrop for a story, I typically take quick shots. Whether or not I am carrying a camera, I am always capturing images in my mind. I am always looking for an angle, and in the absence of a viewfinder, I use my fingers to do a look through. Street photography has to be done quickly, and it does not always give a second chance. As Cartier-Bresson mentioned, the eye must be trained to identify a composition, or a fleeting moment, and then the intuition to click the shutter at the right instant. The look-through process helps me towards framing my images quickly. TPL: What camera/s do you use? Do you have a preferred lens/focal length? What characteristics do you think you need to become a good photographer? Any tips or advice for someone just starting out? PKM: A fast lens helps in street photography, and I typically use a Nikon D5600 with a 35mm f/1.8 lens. Sometimes I use my wife’s mirrorless camera i.e. a Fujifilm X-T3 with a 23mm f/2 lens. I prefer to shoot in raw mode and use LightRoom for image processing. Since I do street photography, I am a firm believer in the term, “if it has to be a street, it has to be candid!” Observation, sensitivity, and visual representation of a storyline... I believe these are some of the key attributes of a good street/documentary photographer. A successful visual storyteller needs to be aware of what is happening in the society around her/him and has the compassion to record it truthfully and artistically. For someone just starting, I would say, see if you are passionate about photography since, in the long term, we would only continue something that we are passionate about. Identify the genre that excites you. In the beginning, you can try out with over one genre and see which are the ones you love the best. Once you are ready to share your work publicly, create an account on Instagram, and study some successful accounts and how they organize their feeds. Try to keep your feed focused on one genre only in an account, otherwise, people might get confused. If you cover multiple genres, you could think about separate accounts. Furthermore, use relevant hashtags, as they can help reach out to your photography outside your circle. In the beginning, you may not get enough Likes or Followers, but please do not get disheartened with that and leave your hobby. Keep on doing your good work, without even looking at the numbers, and you will get noticed over time. TPL: Are there any special projects you are currently working on? PKM: I did some work on the theme, “Chasing the light” in New York, and Washington, DC. I plan to do some more work on that and make some online presentations. TPL: “When I am not out photographing, I… PKM: Most of my free time goes to my two dogs. We have two of them, Frosty (a Bichon Frise), and Hershey (a poodle)...the cutest, most lovable companions that one can ever wish for. They are just like our family members, so much so that it is hard to stay without them for a single day!” Pradip K. Mazumder is a wonderful example of an artist who has dedicated his life and work to capturing the beauty of life. His passion and commitment to photography is truly inspiring and offers viewers a glimpse into a different world. Pradip's work is both captivating and timeless. To get a better understanding of Pradip and his work, press on the links below. VIEW PRADIP'S PORTFOLIO Read THE HOLY RIVER by Pradip Pradip's 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.

AN OBSERVED REALISM Inspired by her local relaxed beach lifestyle in Australia, Melanie Meggs' photographs combine an observed realism with a touch of quirkiness. AN OBSERVED REALISM March 5, 2020 INTERVIEW PHOTOGRAPHY Melanie Meggs INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As people, we are often defined by our experiences – some good, some bad – that shape who we are and how we interact with the world around us. For one Australian visual artist, her near-death experience was the light that shone a new path in her life, leading her to explore photography as a creative outlet and a way to escape from reality. Melanie Meggs is an artist and visionary photographer, whose work speaks to the depths of the human experience. With a background in Fine Arts and years of field experience, Melanie has a unique talent for creating scenarios through strangers on the streets, exploring the intersections of reality and fiction. Her photography is often satirical humorous and serves as a psychological representation of her escape from the everyday. The creative mind behind The Pictorial List, Melanie's artistry runs deep and her thought-provoking works give viewers a rare insight into her world. Through her lens, she invites us to join her on a journey of exploration, allowing us to take a glimpse of the reality she has created for herself. Her works are captivating, mysterious and simply beautiful. Melanie's story is inspiring and her works serve as a reminder that art can be used to explore and express the depths of our inner lives. Join us as we go behind the lens with Melanie Meggs to discover how photography changed her life. You'll miss the best things if you keep your eyes shut. - Dr. Seuss “From a young age, I have been completely mesmerized by people and their complex interactions in different scenarios. I intently observe and analyse their behavior and social relationships, as I find it incredibly fascinating.” IN CONVERSATION WITH MELANIE MEGGS THE PICTORIAL LIST: Melanie, when did you start getting interested in photography? MELANIE MEGGS: As far back as I can remember, I have always had a passion for photography. It all started when I was a young child and I would snap pictures of everything around me with my trusty camera. When I began studying art, I was overjoyed to receive my first SLR camera - a secondhand Nikon FE. I still have that camera to this day and it holds a special place in my heart. While I was initially more interested in the theoretical side of photography, I loved the experience of working in the darkroom and seeing my images come to life before my eyes. Although it's been many years since then, those memories remain vivid and exciting. A few years ago, my life was almost taken away from me by Sepsis (Streptococcal Toxic Shock Syndrome), but I used that experience to change my perspective on life. I was very lucky to have survived. I began to appreciate life in a new light, taking a camera out with me on my daily rehab walks to keep me company. Through my viewfinder, I was able to escape the reality of my illness and everyday life. Even today, photography remains a place of solace for me. TPL: Where do you find your inspiration? MM: I derive my inspiration from my passion for painting. Though I can no longer paint with the same skill as before, I have discovered a way to incorporate my love for painting into my photography. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MM: I have forever been inspired by artists such as Jeffrey Smart, Edward Hopper and David Hockney. The way they created these precisionist depicted scenes of urban landscapes that were full of playful allusions appealed to me very early on in my life. I recently have found inspiration in the conceptual photographic works of Ben Thomas and Maria Svarbova. TPL: Has your style of photographing changed since you first started? MM: Certainly, my approach to photography has evolved over time, and I anticipate that it will continue to evolve as I gain new insights and knowledge. TPL: Where is your favourite place to photograph? MM: I really enjoy taking photos at the beach these days. People there seem more carefree and happy, which makes for great photos. I recently visited Japan, and it was a photographer's dream come true. There were endless opportunities for amazing shots, and the people there were wonderful. I'm already planning to go back again in the future. I also love experimenting with different techniques in art galleries and museums. It's a fun way to challenge myself and create something unique. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you think equipment is important in achieving your vision in your photography? What is your current camera and why did you choose it? Is there anything on your wishlist? MM: I would love to have a camera with weather-sealed medium format or full frame capabilities to successfully achieve my photography objectives. This feature is crucial to my work, as I often capture images in sandy or wet surroundings, and it is essential to the quality of my work. Additionally, I aspire to produce enormous prints in the future, and having a camera with more megapixels will help me achieve this goal. I currently use the Olympus OMD EM II and mostly use my prime lenses 17mm (35mm equiv) and 85mm (170mm equiv). I have a deep affection for my Olympus camera. Its 5-point stabilization, lightweight design, and ability to produce stunning colors makes me hesitant to invest in a new camera at the moment. On my wishlist, emphasis on WISH!...a Leica or a Hasselblad...I shall just keep dreaming at the moment though. TPL: Have you ever been involved in the artistic world before photography? MM: I have a diverse background in the arts, having studied Fine Arts with a focus on art history, painting, and printmaking. Additionally, I studied music and can play the tenor horn, trumpet, and tuba. From 2012, I co-owned a homewares, florist store, and gallery with my close friend, where we showcased the work of talented Australian artisans. Our store also featured our own handmade timber furniture and homeware designs. Sadly in 2018, we had to close the store due to my illness. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MM: The Pictorial List!...A worldwide online community photography platform that delves into the intricacies and splendor of all types of photography. We have numerous exciting concepts in the works and can't wait to share them with you! TPL: “When I am not out photographing, I (like to)… MM: Something creative! Enjoying life on sunny days.” A combination of observed realism and a touch of quirkiness abounds in Melanie's photographs. Join Melanie on Instagram for a glimpse into her life as she pursues her passion for photography. VIEW MEL'S PORTFOLIO Mel's 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.

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