PICTORIAL STORY COALESCENCE Through visual diptychs, the intimate exchange between a mother and daughter unfolds, navigating womanhood through intimate dialogue and revealing a deeper reflection on identity, connection, and time. March 8, 2024 PICTORIAL STORY photography VIN SHARMA project VIN SHARMA & SHIVANI TIMON story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Today on International Women's Day, we are delighted to showcase a collaborative project between a mother and daughter, both navigating pivotal stages in their lives. Vin Sharma, a Brooklyn-based photographer of Indian immigrant descent, was raised in Canada. Her strong cultural family connections inspire Vin to capture a kaleidoscope of emotions we are confronted with on a regular basis. Her work illustrates our impact on one another and the world around us. Vin’s body of work speaks a universal language of shared human experiences, drawing viewers into intimate dialogues. As a mother, the bond she shares with her daughter Shivani is a driving force in her creative approach. Shivani was born in Brooklyn, and it is her home sweet home. She was named after a powerful Goddess of Hindu mythology and serves as muse, as well as a welcome companion. These are the forces Shivani brings to Vin’s life and the enthusiasm she had working with her mother to create this project. Their exploration together gave them time to observe each other in new but familiar ways, allowing their relationship to grow in new directions. Together, Vin and Shivani embark on a photographic adventure that offers them fresh perspectives on each other, nurturing their relationship to evolve in unforeseen ways. Their collaboration prompts contemplation: when do we, as children, grasp the intricacies of adulthood? Conversely, as adults, when do we rediscover the liberation of embracing the innocence of childhood anew? In the context of photography, art often serves as a mirror reflecting the complexities of human experiences. Coalescence is a striking example of this, a series of visual diptychs delicately woven to portray the intimate dialogue between a mother and her daughter. Yet, beyond the familial bond, this project transcends personal narratives to touch upon universal themes of transition, acceptance, and the beauty inherent in change. At its core, Coalescence embodies the very essence of its namesake: the joining or merging of elements to form one mass or whole. Here, the elements in question are not just the individuals captured within the frames but also the myriad emotions, memories, and societal constructs surrounding womanhood. The mother, nearing the end of her menstrual cycle, stands in juxtaposition to her daughter, teetering on the precipice of adolescence. Forty years span between them; a lifetime of experiences and lessons encapsulated within each glance exchanged across the diptychs. Vin shares her driving inspiration for the project. “My daughter pivots on the cusp of adolescence, while I am nearing the end of this cycle. 40 years divide us. As the tenderness of childhood slips away, we bracket each other's natural rhythms. In between, rests a delicate balance of our demands and desires. The cycle of life’s balance persists. The youthful desires that once held my attention make way for the gift of time, while my daughter’s zest for life unravels as a charged birth of emotion. We seek to tread gently through these rites of passage, as we emerge through our inevitable coalescence. We weave our stories together with a gentle acceptance of age.” As viewers immerse themselves in this visual narrative, they witness the ebb and flow of life’s rhythms mirrored in the subtle nuances of expression and gestural posture. The tender vulnerability of childhood yields to the charged intensity of adolescence, while the mother embodies a sense of quiet wisdom born from the passage of time. It is a testament to the cyclical nature of existence, where beginnings and endings intertwine in a perpetual dance of renewal. What sets Coalescence apart is its unapologetic embrace of the natural processes often relegated to the shadows of societal discourse: menstruation and menopause. These pivotal stages in a woman’s life are not merely biological phenomena but transformative experiences that shape one’s identity and perception of self. By way of the diptychs, the artists invite us to confront these topics with grace and dignity, challenging us to shed the stigma and shame surrounding them. Moreover, Coalescence serves as a poignant reminder of the interconnectedness of generations. As mother and daughter stand side by side, their shared experiences reverberate through the images, bridging the gap between past, present, and future. It is a celebration of lineage, of the wisdom passed down through whispered words and silent gestures, weaving a tapestry of resilience and strength. Yet, amidst the weight of tradition and expectation, there exists a profound sense of liberation within Coalescence . It is a call to arms, urging us to honor our individual journeys and embrace change as a catalyst for growth and self-discovery. In a world that often seeks to confine and define us, these diptychs offer a sanctuary of acceptance and love, inviting us to chart our own course through the ever-shifting currents of womanhood. Coalescence is more than just a collection of photographs; it is a powerful reminder of art’s ability to illuminate the human experience. Through its intimate portrayal of mother-daughter dynamics and its unflinching exploration of womanhood, this project nurtures hope and a passionate visual story for solidarity for women of all ages. As we navigate the tumultuous waters of life, may we find solace in the knowledge that we are never truly alone — that in our coalescence, we find strength. Together, Vin Sharma and her daughter Shivani, Coalescence presents a mesmerizing dialogue between generations, encapsulating the timeless journey from childhood to adulthood. With each carefully crafted diptych, the project delves deep into the intertwining threads of womanhood, celebrating the natural processes of menstruation and menopause with grace and dignity. Beyond the mere documentation of familial ties, Coalescence serves as a beacon of empowerment, challenging societal norms and inviting viewers to embrace their individual paths with courage and authenticity. It is a testament to the resilience of the human spirit, reminding us of the strength found within our interconnectedness and the transformative power of self-discovery. As we immerse ourselves in the evocative imagery, may we find inspiration in the shared journey of its creators. May we honor the wisdom passed down through generations and embrace change as a catalyst for growth and renewal. In our collective coalescence, may we discover the beauty of our own unique narratives, and find solace in the knowledge that we are united in our shared human experience. © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani We conclude with a quote from Shivani about her personal experience on this journey. “I think this project displays the confusion, strength, and resilience of young (and old I guess) girls throughout a journey. It serves as a reminder of the importance of supporting and celebrating women throughout their lives.” When Vin asked Shivani if she thought this project brought them closer, she told her mother, “Nope, we are close enough.” Perhaps it is not closeness they learned about, but strength in independence, as a strong sensitive aware young woman. The Pictorial List would like to thank Vin and her daughter for sharing their wonderful work together, allowing us an intimate view on their emotional journey together, providing inspiration for other women transitioning in life. Women everywhere can embrace what you have created together during these challenging times. It illuminates the negatives, once clearly seen they become the positives. Vin leaves us with. “Through these diptychs, we encourage you, whoever you are, regardless of age, to honor your personal journeys and celebrate change as a catalyst for acceptance and love.” view Vin's portfolio Read an interview with Vin >>> View Vin's project Domestic Wasteland >>> 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 >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

PICTORIAL STORY THE OUTSKIRTS Bangladeshi photographer Fahim captures the impact of Dhaka’s rapid expansion, focusing on the outskirts where urbanisation pushes in and old ways of life begin to disappear — a quiet reflection on the grief that shadows a growing megacity. September 17, 2022 PICTORIAL STORY photography FAHIM story FAHIM introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Ahsanul Haque Fahim is a photographer from Bangladesh, whose passion for photography began as a hobby and eventually led him to study at Pathshala South Asian Media Institution in 2021. Fahim continues to pursue photography through personal projects, with special interest in portraiture, street photography, and capturing the spatial landscapes of people in their natural environments in Bangladesh. Fahim is aware of the effects that our negligence, mistreatment, and general indifference to nature can have on our environment. He looks for inspiration in his neighborhood, finding beauty in everything it has to offer. This series is based on Dhaka, the capital of Bangladesh, and in it, Fahim endeavors to capture the effects of urbanization on the outskirts of the city. Fahim ’ s series is a creative exploration of this transformation - a transformation where man ’ s ambition disregards its own consequences, where lives are sacrificed for progress, and where livelihoods are destroyed in a quest for a better future. The Outskirts is based in Dhaka, the capital of Bangladesh. I wanted to represent the effects of urbanization on the outskirts of Dhaka city, in order for its expansion of the city. Dhaka city, a home for over 20 million habitants is also the financial center of Bangladesh. Regarded as one of the most densely populated cities in the world, thousands of people from across the country, regardless of all class and age come to the city every day in a quest for better jobs and education hence, for a better opportunity and a better lifestyle. Everyone wants its fair share of Dhaka city. This constant wave of incoming migration is making the city suffocate...a city already out of capacity to house anymore migration. To cope with the excess population, the urban planners suggested a guideline to expand the city on the outskirts. The city corporation accepted the guidelines and deployed the measurements in action. Flyovers are constructed for seamless transport transmission. The metro rail service has been added to the public transportation system. New route for metro rail has been under construction. With the city dimension expansion already in action, the city’s outskirts are already in transformation of becoming too urbanized. Vast green fields are now occupied by piles of concrete and clear sand. The green has become pale. The natives are moving away; some are displaced in order to grant the expansion. Sold their lands to the city corporation. Their livelihood has perished; the habitants have disappeared into the flow of development. Once those pale green fields used to be full of native children, now only left to be wailed. This formidable city is swallowing everything in its coming path. © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim © Fahim Through his photography, Fahim seeks to spread awareness of urbanization's effects while demonstrating that beauty can still be found in unexpected places. His series is an invitation for us to join him in reflecting on the past and present of Bangladesh's rapidly changing landscape. We must act now and become mindful of the environment we inhabit, choosing sustainability over convenience. view Fahim's portfolio Read an interview with Fahim >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

ECCENTRI-CITY Danny Jackson is a people watcher, candidly documenting characteristically British moments, with a focus on the eccentric. ECCENTRI-CITY June 25, 2021 INTERVIEW PHOTOGRAPHY Danny Jackson INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Danny Jackson is an Essex-based photographer with a knack for capturing the unique and often humorous moments of everyday life. His work has been featured in galleries and publications throughout the United Kingdom and abroad, and his keen eye for detail allows him to capture the characteristically 'British' moments that make his photos so special. With a passion for creative storytelling and a desire to leave something meaningful behind, Danny’s photographic creations are sure to leave you with a smile on your face. From quirky street scenes to picturesque wedding portraits, Danny Jackson’s photography truly captures the beauty and joy of life. “Both of these series focus on eccentric and interesting people. Why Eccentrics? I've asked myself that question quite a lot, and I suppose the main reason is eccentric people seem to live life a different way to the rest of us, they rebel against the established approach, and let their interests and passions consume their lives.” IN CONVERSATION WITH DANNY JACKSON THE PICTORIAL LIST: Danny please tell us about yourself. How did you become interested in photography? DANNY JACKSON: I'm a street, portrait, and documentary photographer from Canvey Island, Essex. I like documenting Britishness, eccentric characters, and maybe attempting to inject some humour into the photos I take. I've always been a bit of a people watcher, people interest me, I suppose street photography is an extension of that interest. In 2019 I started working on a portrait series called 'Eccentric Essex', this project consisted of people of a eccentric nature photographed in their own homes. The Pandemic bought me the opportunity to go through my work, which in turn has lead to the development of the series 'This is Essex', and 'EccentriCity'. Both of these series focus on eccentric and interesting people. Why Eccentrics? I've asked myself that question quite a lot, and I suppose the main reason is eccentric people seem to live life a different way to the rest of us, they rebel against the established approach, and let their interests and passions consume their lives. In 2020, I won first place in the “Love your Friends” category in the “Love in London” photography competition, securing third place overall. This year I appeared in The Independent Online and The Mail Online as well as local papers showcasing my recent series 'This is Essex'. My father died a few years ago and it had quite a profound effect on me, it made me feel the fugacity of life, and it changed me. It made me want to leave something behind. TPL: How do you find inspiration? DJ: Everyone tends to say ‘Instagram’ on this question, and that tends to be the same for me too, although inspiration can come from all kinds of different things, the way light shines on an object, a painting in an art gallery, I also have quite a collection of photo books that I like to look at. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? DJ: Humour is something I’m always looking for in my photographs and that’s something that can be quite a challenge to pull off. I people watch all of the time, and if I see something that stirs something in me, whether it be a smile or a laugh, I believe if I can capture that in an image, it should stir up the same feeling in someone else. Storytelling is also something I try my best to do. TPL: Do you have a favourite place to go photograph? DJ: I like to search for eccentric and interesting people, so my favourite places are the places they dwell, which for me is Brick Lane, Camden, The Southbank, Soho and London's parks. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? DJ: On the whole its very positive, I always make good eye contact with people who I want a portrait of, and with a big smile I approach. I've always been quite good at reading people and can normally tell if people are going to be easy going. If there ever is any problem my best advice would be to resolve the situation as quick as possible, forget about it and move on. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? DJ: With the portraits I usually do pretty much the same thing every time so that’s pretty easy, occasionally I'll try to focus on one idea with the street shots, or a theme, but, most of the time I’m just hunting. I people watch all of the time, and if I see something that stirs something in me, whether it be a smile or a laugh, I believe if I can capture that in an image, it should stir up the same feeling in someone else. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DJ: In art, I really love portrait artists Francis Bacon and Lucian Freud. I’m also a big fan of Salvador Dali (a wonderful eccentric). Also Banksy of course. In photography, a lot of people believe my work to have a little of Martin Parr in it, and I’ll agree with that, I am a fan of his, but also Dougie Wallace, Bruce Gilden, Matt Stuart, Elliott Erwitt and Vivian Maier. 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? DJ: I have a few Nikon cameras, a 7200, a 5400, and a 3200, and a load of prime lenses, I mostly have a 35mm or 50mm on the camera but also have a 70-300mm zoom, which are great for events where there’s tons going on around you or you don’t want to disturb the scene. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? DJ: I've always wanted to do a book, “The Eccentrics” series or the “This is Essex” series I think could work in book form. I would also like to have done a lot more portraits by then. An exhibition in London would also be a bit of a dream. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DJ: I have an exhibition coming up at Mancave Antiques in Leigh on Sea with both series being shown in September, that’s part of The Leigh Art Trail. Currently Todd Viser (@zoomento) and I have been doing interview/chats on @street_badass through Instagram TV. We have met a tonne of great photographers including your esteemed editor Karin (@in_publico), and doing that has been an amazing experience...it's like doing a masters in photography. TPL: "When I am not out photographing, I (like to)… DJ: Spend time with my family. I have a son, two daughters and a brilliant, pretty wife, oh and two dogs. We like to go out somewhere and do something every Sunday together." Danny is a people watcher, candidly documenting characteristically British moments, with a focus on the eccentric. Thank you Danny for always putting a smile on our face. Connect with Danny on Instagram. VIEW DANNY'S PORTFOLIO Read Danny's Story THIS IS ESSEX >>> Instagram >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions.

My interest in street photography is to constantly observe everyday scenes and the extra-daily things that we have around us. My interest is to stop and observe while time does not stop. What street photography allows me is to relate to reality, to connect with what happens. Light and shadow is a way of taking an interest in spaces, spaces through which I move and try to be invisible. GABRIEL MIELES GUZMÁN My interest in street photography is to constantly observe everyday scenes and the extra-daily things that we have around us. My interest is to stop and observe while time does not stop. What street photography allows me is to relate to reality, to connect with what happens. Light and shadow is a way of taking an interest in spaces, spaces through which I move and try to be invisible. LOCATION Guayaquil ECUADOR CAMERA/S fujifilm x20, Canon 7D and Canon Rebel Xsi @ALGABOMIELES FEATURES // Hide & Seek

I am a visual storyteller, documentary and landscape photographer who is passionate about image making and teaching. For over 10 years I have worked closely with National Geographic photographer Raul Touzon travelling the world assisting not only in workshops but also in operations and administration. I have successfully self-published 2 books - 'Jesse's Project' (2023) and 'Fields of Hope (2019). Over $9,000 generated by book sales was given to Loving Spoonful, Young Agrarians and Red Clover. The project provided support to the farming community by enabling young farmers to connect people with healthy foods across The Thousand Islands in Ontario and surrounding areas. 'Fields Of Hope' project represents the culmination of photographs created on farms in the Thousand Islands in Ontario, Canada over a period of 5 years. My goal is to create awareness of the challenges our farmers are facing every day. Praise, honor and preserve their craft while reminding the world of how essential it is for our survival. ANDREE THORPE I am a visual storyteller, documentary and landscape photographer who is passionate about image making and teaching. For over 10 years I have worked closely with National Geographic photographer Raul Touzon travelling the world assisting not only in workshops but also in operations and administration. I have successfully self-published 2 books - 'Jesse's Project' (2023) and 'Fields of Hope (2019). Over $9,000 generated by book sales was given to Loving Spoonful, Young Agrarians and Red Clover. The project provided support to the farming community by enabling young farmers to connect people with healthy foods across The Thousand Islands in Ontario and surrounding areas. 'Fields Of Hope' project represents the culmination of photographs created on farms in the Thousand Islands in Ontario, Canada over a period of 5 years. My goal is to create awareness of the challenges our farmers are facing every day. Praise, honor and preserve their craft while reminding the world of how essential it is for our survival. LOCATION Ontario CANADA CAMERA/S Sony Alpha A7R V WEBSITE https://andreethorpe.com @ATHORPEPHOTO FEATURES // Jesse's Story

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

My work focuses on portraiture and storytelling. I began photographing actors and re-enactors obsessed with history. In broader terms I started documenting various sub-cultures of time travelers, trying to capture people's eccentricities, obsessions and their world of escapism. I observe people from all walks of life who park aside their everyday lives and immerse themselves into an alternate world. I am fascinated by the concept of actors and stage, believing there is an actor in everyone, or perhaps a re-enactor. RUSSELL COBB My work focuses on portraiture and storytelling. I began photographing actors and re-enactors obsessed with history. In broader terms I started documenting various sub-cultures of time travelers, trying to capture people's eccentricities, obsessions and their world of escapism. I observe people from all walks of life who park aside their everyday lives and immerse themselves into an alternate world. I am fascinated by the concept of actors and stage, believing there is an actor in everyone, or perhaps a re-enactor. LOCATION Liphook UNITED KINGDOM CAMERA/S Leica SL2 & Leica M10 WEBSITE http://www.cobbphoto.com @RUSSELLCOBB FEATURES // Transtemporal

PICTORIAL STORY THE INVISIBLE WORKERS May 28, 2020 PICTORIAL STORY Photography by Adrian Whear Story by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the crowded streets of Dhaka to the open-air kilns of its richly traditional brick factories, Adrian Whear's experience of Bangladesh was a journey into a world of culture and tradition unlike anything he had ever seen before. As a street photographer based in Melbourne, Adrian eagerly embraced the opportunity to travel to Bangladesh and photograph alongside the members of the Bangladesh Photographic Society. From his encounters with the friendly people of Bangladesh to witnessing their hard-working lives, Adrian's photos speak volumes about the hidden stories of this often-overlooked country. Through his pictures, Adrian beautifully captures the warmth and generosity of the Bengali people, while also highlighting the harsh realities of their struggle for survival in a rapidly expanding urban environment. Join Adrian on his incredible journey as he discovers the unique beauty of Bangladesh and its resilient people. “I would describe my travel experience to Bangladesh as real-world time travel. The Bengali people are economically poor, but so rich and generous in spirit and soul. I felt so connected to them that I wanted my photography to represent them all fairly and honestly. Their stories are mostly hidden from the majority of the Western world, and it is important for all of us to remember that all people are equal and deserve to be treated respectfully. I hope I have achieved this with my photography.” The first couple of days in Bangladesh were spent with Adrian trying to shoot his usual street style in the old part of Dhaka. “Everywhere I went, I would attract attention, people would follow me, and many curious eyes would stare at me. This made it near impossible for me to capture any candid street scenes. I posed for many photos, and I believe that there must be many images of me out there on Facebook in Bangladesh,” says Adrian. Bangladesh is a country with a rapidly growing population of over 160 million people. In the metro area of Dhaka alone there are over 21 million, which has resulted in a rapid urban expansion. This in turn has led to a high demand for cheap building materials, which has led to a thriving brick making industry. The land around Dhaka is full of high chimneys, spewing out thick smoke from the millions of bricks being burnt. The World Bank estimates that the industry here employs over one million people who churn out approximately 23 million bricks every year. These bricks are produced using an old method of mixing soil with water, which is then formed into bricks using wooden frames, then left to dry in the sun before being fired in traditional coal burning outdoor kilns. This process is almost entirely done by hand. Male and female workers of all ages travel from all over Bangladesh to get a job in these factories, where they earn between 300-800 Taka (US$3.50-$9.50) a day. For the poor, life is unimaginably hard in Bangladesh. Adrian remembers seeing the brick factories for the first time. “I was overwhelmed by the sheer scale of the factories; they were so large in area. I had not imagined them to be so vast. As far as my eyes could see there were bricks and chimneys. The landscape was flat, everything was at ground level except for the large number of chimneys reaching for the sky, spewing out grey smoke. What I immediately noticed was the dust, just so much dust in the air. Initially I did not see many people as they were working down in the open kilns. The first people I saw were the children, who were drawn to the Westerner arriving, whilst their parents were occupied and working.” Adrian virtually had unlimited access to anywhere within the workplace as long as he didn't get in the way. Occupational health and safety are non-existent. The workers are paid by the load, so they really cannot stop to pose for a photograph or stop to talk. Any interruptions to their work could potentially cost them some wages. Adrian prefers to photograph disengaged, as it allows him to enter a mindset where he is fully focused on the environment. He wants to capture the natural essence of the scene. But there were many times when he moved between being disengaged and engaged in Bangladesh, like times when someone would reach out to him. At such times he always tried to respond, whether that was just a knowing glance, a nod of the head or a passing word such as “Hello” or “Where are you from?”. “We would occasionally make eye contact for a short moment to connect, where you would just see and feel their humanity. A couple of workers asked me for some of my water, which I absolutely happily obliged. At the end of the day, it was time to relax. The older men would drink milk tea and smoke, the younger men would start up a game of cricket or soccer, the girls would start a skipping game, and the older women would gather together, talk and watch,” he explains. Seeing all this made Adrian put the camera down to connect with the Bengali people as much as he could, drinking milk tea, complete with six sugars and joining in and talking with the men. English is widely spoken. He joined in nightly games of cricket, and as soon as word got around, more people showed up to join in. “I soon became a combination of Ricky Ponting, Shane Warne and Adam Gilchrist! With the young girls I would skip rope and teach them clapping games. I'm sure I missed out on many great photographic opportunities, but I have memories that are priceless from these evenings.” Adrian was often captivated by the vibrant colours of the textiles worn by the women in total contrast to the bland background and brutal reality of the scene. In the West we are conditioned in many ways to still see this type of work as being 'mans' work, so the sheer brutality of this type of manual labor becomes even more obvious when you see the women and children also being exploited. Women workers suffer from a lack of secured employment, low and discriminating wages, and exploitative working conditions. Their way of life is perpetually in a state of continuous change. The women comprise about half of the total workforce of every brick factory. They generally are the wives of the male factory workers and usually take up the employment to improve the standard of living for their families rather than to achieve any independent status for themselves. The children cannot be left home alone and usually the older children will help the parents out in whatever ways they can. Although school is compulsory, parents often do not send their children, because out of the necessity for another meager wage to help support the family. Most of the girls in the age group 10-16 work alongside their mothers and the boys in the age group 10-17 work mostly in the loading and unloading from the truck. According to the United Nations Human Development Index 2019, Bangladesh ranks in place 135 of 189 countries for which report data exist. The mean years of schooling are 6.1. By comparison, Australia ranks in place 6 and has 12.7 mean years of schooling. Singapore ranks in place 9, with 11.5 mean years of schooling. “For me, it was very emotional to see the young girls carrying out this type of manual labor. At that time of travelling to Bangladesh, my daughter in Melbourne was 17, so I would often compare her life to her counterparts in Bangladesh,” says Adrian. © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear © Adrian Whear Whilst this story focuses mostly on Adrian's experience visiting the brick factories in Bangladesh, he also visited one in Kathmandu, Nepal. There are also thousands of brick factories located in India and Pakistan, all with very similar stories. Children everywhere, no safety equipment, illness, withheld wages, pregnant women, and no clean water. Workers are treated like slaves, and it has been going on for many decades. It is time for governments to take responsibility and end this exploitation that rightly should not be happening in the 21st century. view Adrian's portfolio Read an interview with Adrian >>> Instagram >>> Sources used in this story - World Bank Wikipedia | Bangladesh A. Mandal, Women Workers in Brick Factory: Sordid Saga from a District of West Bengal, 2005 United Nations The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

I am an architect from Azerbaijan who loves traveling and discovering new places and faces of my native country. I presented my first photo-project in 2020 "Island in the Mountains", in the frame of Tbilisi Multimedia Museum Grant program for women of Caucasus. (https://tpmm.ge/en/video-archive/island-in-the-mountains/). Photos are mostly about the lifestyle of villagers, architecture, nature, colors and patterns around. CHICHEK BAYRAMLY I am an architect from Azerbaijan who loves traveling and discovering new places and faces of my native country. I presented my first photo-project in 2020 "Island in the Mountains", in the frame of Tbilisi Multimedia Museum Grant program for women of Caucasus. (https://tpmm.ge/en/video-archive/island-in-the-mountains/). Photos are mostly about the lifestyle of villagers, architecture, nature, colors and patterns around. LOCATION Baku AZERBAIJAN CAMERA/S Fujifilm X-E2, Sony a6400 @CHEBUUREKK FEATURES // Discovering My Country

PEOPLE AND THEIR ENVIRONMENT Before it was too late, Anwar Ehtesham bought himself a camera and discovered a passion for photographing people in their environment. PEOPLE AND THEIR ENVIRONMENT July 13, 2022 INTERVIEW PHOTOGRAPHY Anwar Ehtesham INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link When life gives you a second chance, you take it. That is what Anwar Ehtesham did when he decided to invest in his own camera and pursue his dream of becoming a photographer. Growing up in Bangladesh, he was surrounded by an environment that inspired him and filled him with creativity. Now living in the capital city, Anwar has been able to hone his skills and perfect his art of capturing humans in their environment. He believes that the environment plays such an important role in provoking different moods and that is what makes the photograph so special; the people. In this interview with The Pictorial List, Anwar shares some of his creative journey, his struggles growing up and why he chose to pursue photography as his lifetime pursuit. Join us as we explore the passion and dedication of a determined photographer and learn more about the story behind Anwar's lens. “While walking through the narrow streets of Old Dhaka, I suddenly noticed a father playing with his 1 year old son. That intimate moment caught my eye and I approached them. After taking the photos, I spent some time with them and told him that I’ll be back with the hard copies of these photos. After about 3 months later I went to his place along with the hard copies. And they were so happy after getting the photos that I cannot explain in words. They called their neighbours and showed the photos to them. It was an emotional moment for all of us. And guess what, they were so happy that they gave me the permission to visit their place anytime I wanted. And this was priceless.” IN CONVERSATION WITH ANWAR EHTESHAM THE PICTORIAL LIST: Hello Anwar, please tell us about yourself. ANWAR EHTESHAM: I was born in 1983 in a small town of Kisharganj in Bangladesh. However, my parents moved to the port city, Chittagong, when I was at the age of two. After completing my higher secondary education, I moved to the capital city of the country, Dhaka, in 2004. Dhaka is the eighth largest and sixth most densely populated city in the world. Since I moved from Chittagong, one of the most naturally beautiful cities of Bangladesh, I was having a hard time adjusting with the environment and busy life of Dhaka. Leaving most of my friends behind at my hometown made it worse. And unfortunately, I could not make friends in this new environment. So, living in Dhaka became a nightmare. In 2006, I completed my Bachelor in Business Administration with a Marketing major. After graduation, I joined one of the largest advertising agencies in Bangladesh. Whilst working there, I came across many creative people. Being able to work with and learn from creative minds, my passion for photography got the boost it needed. However, my job was very hectic and it occupied me for month after month. To put icing on top, I also decided to enrol in Masters in Business Administration at East West University in 2008. And that made life even busier. Over the period of time, I worked for multiple organizations and enrolled in many different executive programs and online courses. As I was getting busier day by day, I could never start photography. TPL: How did your journey into photography begin? AE: It was in mid-2019, it hit me - I am getting older! If I don’t do anything now, I never will! So, I bought my first camera in November 2019. It was Canon EOS 80D. Initially, I did not know what to shoot and how to shoot. I used to take pictures of my kids, people around me, flowers and trees in P mode. But I realised that I was not doing it right. So, I started learning photography from YouTube and online journals. Initially I was very interested about landscape photography. But soon, I had realized that it is not my cup of tea as it involved lots of travelling. I soon discovered that street photography is the best fit for me. I was extremely shy and nervous when I held the camera on streets. So, I used to take photos using long telephoto lenses so I could take photos from a distance. But then in early 2020, the world was plagued with COVID-19. Everybody started wearing masks. And that was the game changer for me. Since, the people I shot wore masks and so did I, our identities were not disclosed. That gave me the comfort of getting close to people. During this time, I formed a small group of like-minded and enthusiastic street photographers. We have gone out for photo walks most weekends. That has helped me to shoot confidently on the streets, explore new places of the city and exchange different thoughts about photography. TPL: Talk to us about your method of working before the final image. Do you know exactly what you want from the beginning? AE: My methods are pretty simple. I go through my pictures several times right after the photowalk. Then after returning home, I organise my photos in three different folders. These are: Priority, Potential and Stock. First, I start picking photos from the 'priority' folder and try to critically analyse my photos. When I am done analysing the 'priority' folder, I move to the 'potential' folder and do the same. I hardly search photos from the 'stock' folder. I do a very little post-processing which basically includes minor cropping and colour corrections, and adjusting shadows and highlights, etc. However, I have a philosophy about post-processing. I don’t post-process unless it is necessary (that’s probably because I am lazy). And when it is necessary, I don’t want to heavily change the scene or colours. It is because I want to keep my frames true to the scene. It depends from scene to scene. However, I can tell what exactly I am going to get in most cases. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? What is on your Wishlist? AE: The first camera I ever held in my hand, brough to eye and released shutter was a film camera; Yashica MG-2. I was probably 4-5 years old then and the camera was owned by my father. Interestingly, we still have that camera. The first camera that I bought was a Canon 80D coupled with Canon 18-135mm zoom lens. Then later on, I tried many cameras namely, Canon 1300D, Sony a6000, and Sony A7iii.. Finally, I’ve settled on three cameras namely, Sony A7iii, Fujifilm X-T30 and Ricoh GR 3. Well, the Ricoh was bought 2-3 months ago. My most favourite setup by the way is Fujifilm X-T30 coupled with Fujinon XF 16mm F2.8 (24mm full frame equivalent). It’s a very cute and small setup. But the abilities of this setup are enormous. Most of my favorite shots came from this setup. I’ve also started loving Ricoh these days. It is also a capable camera. But Ricoh has its limitations too, especially in low light situations. Since I have tried many different cameras as well as focal lengths, I know which camera or setup can do what in certain situations. Frankly speaking, I have more gear than I need. Mostly because of whimsical buying. I think gear is secondary when it comes to achieving my vision. Every gear can produce decent pictures these days. But what really helps to achieve a certain result is the power of observation and patience. Like I said, I think I have everything I need. However, there are two Wishlist cameras. These are Hasselblad 907X Anniversary Edition and Leica M10. TPL: What have been some of your most memorable moments as a photographer? AE: I think every walk is memorable for me. I go to places, meet new people, exchange thoughts and more. This is a very satisfying feeling. As you have asked, I’ll share one of my most memorable moments here. It was probably mid-January, 2022. I went to Old Dhaka as usual. While walking through the narrow streets of Old Dhaka, I suddenly noticed a family; a father playing with his 1-year-old son. That intimate moment caught my eye and I approached them. It was a very narrow space and challenging in terms of lighting conditions. Moreover, I entered into their personal space. So, I was a bit nervous. However, the father did not mind when I sat beside him. To start with, I praised his son and asked for his permission to take a few photos. He allowed me to take the photos. After taking the photos, I spent some time with them and told him that I’ll be back with the hard copies of these photos. In reply, he told me that it’s okay. After about 3 months later I went to his place along with the hard copies. The father wasn’t there at that time. So, I gave the pictures to his wife. Meanwhile, the father also arrived home. And they were so happy after getting the photos that I cannot explain in words. They called their neighbours and showed the photos to them. It was an emotional moment for all of us. And guess what, they were so happy that they gave me the permission to visit their place anytime I wanted. And this was priceless. I want to show the world that this city also has its own beauty and colours. TPL: Do you have a favourite photography/art inspired quote or saying? AE: Yes, I do. “If your pictures aren't good enough, you're not close enough,” by Robert Capa. In fact, this quote changed my entire photography style and approach. TPL: What are some of your most favorite places you find inspiration to explore through your photography, and what draws you there? AE: It is the people and their positive energy that draws me to those places. I usually go to the most struggling people of the city. Most of them live from hand to mouth. Sometimes, they don’t even get enough food or rest. But still, they remain unstoppable. Despite hundreds of adversities, they are fighting every day with new vigor. Their mental strength and motivation to survive fascinates me again and again. TPL: Do you have any favorite artists you would like to share with us? AE: Yes, I do. In fact, the list is pretty long. I am a big fan of Ansel Adams, Henri Cartier-Bresson, Vivian Maier, Saul Leiter, Alan Schaller, Raghu Rai, Vineet Vohra, and many more. However, Fan Ho and Steve McCurry are my most favorites. Being said that, I try to gain my photography inspirations from all genres and styles. Sometimes, it’s not limited to photography only. I believe that creativity can come from anywhere and anything. TPL: Are there any other photographic projects you are working on, or have planned in the near future? Where do you hope to see yourself in five years? AE: I am currently working on a long-term project. It’s about the city I live in. Dhaka is known as one of the most dirty, unhealthy and ugly cities of the world. But I want to show the world that this city also has its own beauty and colours. In fact, my ultimate plan is to publish a coffee table book containing 101 photos that will portray the beauty and stories of this city. TPL: “When I am not out photographing, I (like to) … AE: Spend time with my family. And if I get more time, I want to look at other photographers' works and explore new perspectives.” Anwar Ehtesham's story is truly inspiring and reminds us of the power that dreams can have and the value of never giving up. His passion and dedication to his craft have allowed him to pursue his goals and create something special for himself and those around him. His journey of self-discovery through his lens is one we should all strive to emulate. We invite you to join Anwar on his journey through photography and celebrate with him the power of creativity and following your dreams. VIEW ANWAR'S PORTFOLIO Instagram >>> Website >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions.

REVERBERATION Italian street photographer Lele Bissoli shares his "Creative" series of his recovery of 'wrong' shots reworked to create something poetic. REVERBERATION February 9, 2022 INTERVIEW PHOTOGRAPHY Lele Bissoli INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link As we navigate our way through life, some of us take solace in the simple beauty of creativity. For Lele Bissoli, creativity is a way of life. Since 2015, this Italian native has been capturing moments, people, and places in a way that evokes emotion and leaves a lasting impression. Lele is no ordinary photographer. He creates art from scenes that pass us by without any notice. He takes everyday moments and turns them into mesmerizing works of art. Lele's work has taken him all around the world, from his hometown of Vercelli in Northern Italy to the hustling and bustling streets of New York City, Los Angeles, London, Milan, and Genova. Everywhere he goes, he sees beauty and emotion in every scene. This has resulted in stunning photography that tells stories through vivid imagery. Lele is not content with just taking photographs. With the Pictorial List, Lele shares his series "Creative" where he revisits "wrong" or "ineffective" shots and reworks them to create something poetic and free-spirited. In doing so, Lele breaks the rules of photography and creates something truly unique. A reverberation! “The creative series is a recovery of wrong or ineffective shots, in a few words when I came back from a journey during the post production process I would then select the 'wrong' shots and mix them until a good result was obtained. Often after finishing the work I realise that it can convey anxiety, the blind rush of our society, the not having a moment for oneself during the day. These things have haunted me for years, bringing on panic attacks which I have managed to overcome well. But obviously something has remained, so I think I convey this in a poetic way, while in some cases it is just pure desire to stand out and break the rules of photography.” IN CONVERSATION WITH LELE BISSOLI THE PICTORIAL LIST: Lele, please tell us something about yourself. How did you become interested in photography? LELE BISSOLI: I was born in Vercelli a small city located in the northern part of Italy between Milan and Turin and where I still live today. I started to photograph in 2015 when my girlfriend gave me my first reflex camera, a Canon EOS 1200. I started photographing starry skies and the Milky Way until I discovered street photography three years later, and it was love at first sight. TPL: What does street photography mean to you? How have the streets and culture you capture influence your photography? LB: I like the naturalness of street photography, the stolen moment...I don't really like posed photos. I think I have a cinematic vibe in my photographs. I noticed it when I was in New York, after having seen a thousand movies set in that city, I realised that my photos and the characters I had chosen to photograph, seemed to come out of those films. I think my biggest influence was definitely 80's and 90's movies. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? LB: I love road trips and my favourite memories are probably in California, where I have been two times with my wife and a couple of friends in 2016 and 2017. I love to rent a car and go wherever I want. From my experience I have understood that if you know how to be polite and mind your own business you can go almost anywhere, and, that there is always something to learn from others. TPL: Do you have any favourite artists or photographers you would like to share with us? LB: Of course, there are many, but at the moment it comes to mind, Suzanne Stein, Peter Chelsom, Meryl Meisler, Giovanni Gastel, Mick Rock, Ross Halfin, Dee Dee, Anton Corbijn...but my list is endless! I like the naturalness of street photography...the stolen moment. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? LB: Sorry...but I chose two that have a lot to teach...Peter Chelsom and Anton Corbijn. 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? LB: Yes, I have always used a Canon EOS. But in the last two years, I have switched to Fujifilm XT2, and I love its retro side which is also reflected in the photos. At the moment, I use a 23mm f1.4 lens and I love it. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? LB: I think I will continue to try to improve but I will stay on this path. I would like to be a photographer of concerts and possibly rock, blues, and jazz artists. I'm not interested in making money but doing what I like...to make sure my passion doesn't die. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? LB: This year I would like to embark on a long journey through six American states, a road trip between Florida, Alabama, Louisiana, Mississippi, Tennessee and Georgia, which I would like to document with photos and videos. It would be a cultural journey through the Blues highway, the music I love about African Americans, the origins of the Blues. TPL: When I am not out photographing, I (like to)… LB: Run! I'm a Runner! And I will organise future trips...sooner or later...I will make them!! Lele Bissoli's photography is a testament to the power of creativity and imagination. Through his stunning images, he demonstrates that beauty can be found in the most unexpected places and that boundaries should not be limited by rules. By taking wrong shots and reworking them, he has proven that creativity is the key to unlocking new and exciting possibilities. We can all learn from Lele's example and take the time to be creative, to look for beauty, and to tell stories through vivid imagery. Take inspiration from Lele and go out in the world with a camera to capture moments, people, and places that evoke emotion and leave a lasting impression. VIEW LELE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions.

I am a photographer. Why? The jazz or was it the sounds of the blues?, the city streets, the neon signs, a thousand and one taxi cabs, all those hats and coats, a myriad of beards and legs and eyebrows and hair and hands, the beaches, tiny apartments and stairwells, parties until five a.m., costumes on Halloween and any day of the year, the cockroaches and fireflies, the actors, singers, musicians, and photographers, the blind and the seeing and the blind who saw more than me, all the countless grays and colours too. PAN I am a photographer. Why? The jazz or was it the sounds of the blues?, the city streets, the neon signs, a thousand and one taxi cabs, all those hats and coats, a myriad of beards and legs and eyebrows and hair and hands, the beaches, tiny apartments and stairwells, parties until five a.m., costumes on Halloween and any day of the year, the cockroaches and fireflies, the actors, singers, musicians, and photographers, the blind and the seeing and the blind who saw more than me, all the countless grays and colours too. LOCATION New York UNITED STATES CAMERA/S Leica M5, Super Angulon, iPhone 6 WEBSITE https://panphoto.cargo.site/ @BXPHOTOGRAPHER FEATURES // Resilient Bronx Synesthesia