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As a photographer, my goal is to use photography to draw the viewer in. I want to create an image that tells a story, captures a client’s vision or creatively depicts architecture, nature and still life in their most raw and honest forms. Every day 5 a.m passes me by. While I am asleep there is a world that I am completely detached from. When I begin settling in for the evening there are countless others getting themselves ready to start their day. From bakers and farmers to gas station attendants and factory line workers, we live in a world that never truly sleeps. Productivity and services continue to be provided while many of us are asleep and dreaming. When I wake up in the morning I can, without a second thought, enjoy freshly made bread, produce picked hours earlier or even a newly paved road. The 5 a.m. project developed out of an interest to step outside of my 9-to-5 world; to document places, people and livelihoods at — or as close as possible to — 5 a.m. The world may look very different when not congested with people and cars but that does not mean we have all settled in for sleep. Welcome to 5 a.m. BRIAN DOUGLAS As a photographer, my goal is to use photography to draw the viewer in. I want to create an image that tells a story, captures a client’s vision or creatively depicts architecture, nature and still life in their most raw and honest forms. Every day 5 a.m passes me by. While I am asleep there is a world that I am completely detached from. When I begin settling in for the evening there are countless others getting themselves ready to start their day. From bakers and farmers to gas station attendants and factory line workers, we live in a world that never truly sleeps. Productivity and services continue to be provided while many of us are asleep and dreaming. When I wake up in the morning I can, without a second thought, enjoy freshly made bread, produce picked hours earlier or even a newly paved road. The 5 a.m. project developed out of an interest to step outside of my 9-to-5 world; to document places, people and livelihoods at — or as close as possible to — 5 a.m. The world may look very different when not congested with people and cars but that does not mean we have all settled in for sleep. Welcome to 5 a.m. LOCATION Ontario CANADA CAMERA/S Canon 5d Mark III WEBSITE http://www.bdouglasphotography.com @BRIANRDOUGLAS @BRIANDOUGLASPHOTOGRAPHY FEATURES // 5 A.M.

I was born in Italy and have spent most of my adult life in the United Kingdom. I am an academic economist by profession and a self-taught photographer. My background in the social sciences has likely influenced my photography. A lot of what I do is street photography, and I am interested in how we interact with our environment and how it shapes and is shaped by our activities. However, by and large, I do not follow a documentary approach; for me selecting a portion of the world through the viewfinder goes well beyond trying to capture a fragment of reality. I am moved by the subtle poetry of small, insignificant moments of the life around us and the tension they reflect between what is universal in the human condition and the specificities of time and place. I think that the ‘existential’ that transpires from what we see in the streets the world over is best captured by B&W photography, which I favour. CATIA MONTAGNA I was born in Italy and have spent most of my adult life in the United Kingdom. I am an academic economist by profession and a self-taught photographer. My background in the social sciences has likely influenced my photography. A lot of what I do is street photography, and I am interested in how we interact with our environment and how it shapes and is shaped by our activities. However, by and large, I do not follow a documentary approach; for me selecting a portion of the world through the viewfinder goes well beyond trying to capture a fragment of reality. I am moved by the subtle poetry of small, insignificant moments of the life around us and the tension they reflect between what is universal in the human condition and the specificities of time and place. I think that the ‘existential’ that transpires from what we see in the streets the world over is best captured by B&W photography, which I favour. LOCATION SCOTLAND/ITALY CAMERA/S Fujifilm X Series, Pentax MZ3 WEBSITE http://www.catia3690.com/ @CATIA3690 @CATIA3690 FEATURES // Parallel Realities Peripheral Places

I am a Fine Art photographer currently living in Noosa, Queensland. Originally from Central England, I also spent many years in Wellington NZ, before hopping over the Tasman in 2014. I have always been drawn to abstract and minimal aesthetics in photography, previously I have spent many hours trying to perfect long exposure landscape/seascapes but I'm currently fascinated by pinhole photography and how I can explore grow by combining these elements by using the local beaches in and around Noosa as my subjects. STEPHEN ALLSOPP I am a Fine Art photographer currently living in Noosa, Queensland. Originally from Central England, I also spent many years in Wellington NZ, before hopping over the Tasman in 2014. I have always been drawn to abstract and minimal aesthetics in photography, previously I have spent many hours trying to perfect long exposure landscape/seascapes but I'm currently fascinated by pinhole photography and how I can explore grow by combining these elements by using the local beaches in and around Noosa as my subjects. LOCATION Noosa AUSTRALIA CAMERA/S Canon 6D WEBSITE http://www.stephenallsopp.com/ @S.W.ALLSOPP FEATURES // Beach Life

I'm a native NY'er with a illustrative background, I always worked in the arts and was always the photographer in my family. I learned to use a Pentax K1000 SLR back in the 80s, I have a Nikon DX digital, but all my street photography I do has been solely with my mobile Samsung Galaxy. Mostly black and white work with some color, I am drawn to compositions that usually have strong shadows and patterns. I also am sensitive to a lonely look or a person's condition who might not be well or down on their luck. I myself struggle with multiple sclerosis which derails me at times from my every day life. When I'm healthy enough to get back to it, my street photography has become a healing tool, connecting me to the city I love and all it has to offer. I will never stop...it's that important to me! ELLE CLARKE I'm a native NY'er with a illustrative background, I always worked in the arts and was always the photographer in my family. I learned to use a Pentax K1000 SLR back in the 80s, I have a Nikon DX digital, but all my street photography I do has been solely with my mobile Samsung Galaxy. Mostly black and white work with some color, I am drawn to compositions that usually have strong shadows and patterns. I also am sensitive to a lonely look or a person's condition who might not be well or down on their luck. I myself struggle with multiple sclerosis which derails me at times from my every day life. When I'm healthy enough to get back to it, my street photography has become a healing tool, connecting me to the city I love and all it has to offer. I will never stop...it's that important to me! LOCATION New York City UNITED STATES CAMERA/S Samsung galaxy s7edge and s10+ WEBSITE http://www.elleclarke7.wixsite.com/mysite @ELLECLARKE7 @ELLECLARKE_7 FEATURES // Fabric of New York Visuals

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. 'Saltwater' © Uma Muthuraaman 'State of the Art' - Sorry, I haven't texted you back. © Uma Muthuraaman 'Hustler' - I have another meeting starting now. © Uma Muthuraaman 'This Minute' - While you were on your phone. © Uma Muthuraaman 'Unfettered' - Little drops on the sandy shore unfettered by the endless horizon. © Uma Muthuraaman 'Time and Tide' - Will you wait for me? © Uma Muthuraaman 'Who's Watching' © Uma Muthuraaman 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 >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 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.

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

Photography is an accidental autobiography. FRANK MATAGRANO Photography is an accidental autobiography. LOCATION Florida UNITED STATES CAMERA/S Fuji XT3 and Fuji X100F @FRANK.M___ FEATURES // An Accidental Autobiography

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

BOOK 18 >> 20 October 18, 2023 BOOK PHOTOGRAPHY Elsa Arrais TEXT Paulo Kellerman Excerpt from interview by Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Elsa Arrais is a photographer living and creating impressive work in Leiria, Portugal. Born in Vila Nova de Famalicão, Elsa has become a beautiful thread in the tapestry of Portugal. With a background in Engineering, her attraction to visual arts emerged almost imperceptibly and gradually photography became her means of expression and artistic object. Elsa is married and the mother of two beautiful children, living and being inspired by the intricacies of the city of Leiria. Here Elsa has forged a path for her photography by embracing the artists and writers that bring life and character to Leiria in new and exciting ways. In 2021 began an important journey in photography contributing to the collaborative group Fotographar Palavras, and becoming an integral part of their project. Fotographar Palavras is a group founded by Paulo Kellerman, that combines the talent of writers and photographers, engaging them to collaborate on translating words into photography. Elsa shares her inspiration. “Since 2021, I have contributed to the Fotografar Palavras project, where I often search the self-portrait for the defining elements of meaning. With a predilection for minimalist black and white, my visual exploration is guided by local and temporal ephemera, transforming the peculiarities of the details that I find, in the streets I wander, into brief windows, fragments or reflections of memories and personal essences.” Despite all these years living in Leiria, Elsa never felt a real connection with the city. As a mother of two children, it can be hard to find time to call your own, to focus on what inspires you as an artist, and to commit to making the time to create work. These disconnections became the motivation for the photographic base concept of this project ‘18>>20’, which was conceived to embrace these challenges, and create meaningful work. Elsa shares the creative and critical thinking processes that helped her breathe life into her project and give it a powerful direction. “This project emerged with the intention of connecting me with the city and naturally with myself. The use of a 28mm lens served to reinforce this aim of proximity and intimacy with the city, both metaphorically and technically. From this reflection of my relationship with the city, capturing both details and subtleties as well as the city's identity marks, at the end of this project I came across a series of images that subtly lead to a city-shelter. This theme ended up being as personal as it was universal and will therefore serve as the basis for a cycle of reflective conversations developed in partnership with the municipality of Leiria, publisher of the book.” With critical thoughts and ideologies in place, the creative process becomes the focus. Elsa was driven to make the commitment to create this work in a meaningful way. “During one year, always at the same time of the day (between 18 and 20 o’clock), I wandered around the city and photographed Leiria freely. I created a collection of hundreds of images, composing a subtle and emotional portrait of the city, capturing details and subtleties, permanence and mutations, the subtle identity marks that define the soul of constructions and nature, of spaces, of people. From each weekly selected photograph by Paulo Kellerman, he created a brief text (amalgamation of fiction, philosophical reflection and poetic narrative) that offers new possibilities of reading for those images. The aim of this collaborative work (52 weeks, 52 photos, 52 texts) was to compose a simultaneously artistic, emotional, poetic and imagery portrait of the city in a predetermined period of time, in an intimate relationship between emotion and reflection, urbanism and privacy, collective and individual, space and time, image and word.” One can make a significant statement through their personal work, while sometimes the power can be amplified by combining artistic energy and vision from another artist to create an entity larger than oneself. This was the dynamic and inspiration for both artists to produce this relevant work together. Elsa explains the relationship between her and Paulo Kellerman, and how effective they have become at exchanging artistic concepts and visions through photography and word. “Fascinated by the various readings, interpretations and meanings that are normally attributed to my photographs by observers, already collaborating at the time in a project that combines literature and photography and being an avid supporter of multidisciplinary and interconnection of various artistic expressions, the partnership with the local writer Paulo Kellerman came naturally. Mutual respect and trust in individual works allowed us both to be free in the process of creating images and texts. And it was from this freedom, trust, interconnection of interpretations, individual complicities with the city and complicities between photographer and writer that a new vision as collective as personal was born, created week after week. This process culminated in the publication of a book where growth and discoveries are shared.” Paulo Kellerman shares his experience collaborating with Elsa on this project together. “The project 18 » 20 was an amazing creative experience, based on the complicity between writer and photographer. We had time for this project, and that was very important to us: to have the opportunity to think about and discuss the project, to experiment, to see how it slowly materialized. Elsa is very enthusiastic, very determined, very challenging, very cooperative, very generous; it was an enormous pleasure to work with her and I think it shows in the book. I'm very proud of the work we achieved and also of the way we did it, the process in itself. It was a perfect example of co-creation: sharing and creating together, harmonizing points of views and aesthetics, learning with the other, putting the best of each one in the pursuit of a common goal.” Elsa has created new pathways she follows through the streets of Leiria with her photography. She has embraced a philosophy and vision that inspires her to utilize photography in meaningful ways to create important work. As an artist and photographer, she works with clear vision, and an open mind to learn more and to be influenced in creating new ways of seeing and understanding the world around her. “We exist in a present where photography is as accessible as it is conditioned. Accessible to everyone at the touch of a cell phone but restricted in many contexts to those who want to use it in the shared space as a form of artistic expression. Based on this dichotomy, Elsa Arrais searches in the commonplace of everyday life for a voice that many times echoes beyond the expressiveness of a face; her search for notable physical expressions, as well as places' identity details, seeks to establish words capable of awakening emotions and imaginary (and imagery) interpretations in external observers, usually keeping the identity and intimacy of those portrayed intact. The result of this balance between technique, emotion and delicacy is the creation of an ambivalent language dictionary, as complex as it is simple, which oscillates between light and shadow, geometry and emptiness, being and its outer contour, the concrete and distortion; between what remains immutable and what continues under construction; between freedom and repression. As an existential metaphor, this dictionary continues its quest for permanent growth and mutation, in the hope that one day it will become extinct or transformed into a grammar that, complete in itself, forms part of the universal language of images of the present in which we exist. The present where photography is as accessible as it is conditioned, and therefore needs dictionaries.” Elsa Arrais has presented in national and international exhibitions and magazines, co-author of the book ‘18 >>20’, and currently contributes to several projects that combine literature and photography. Have a look at her portfolio and follow her links for new ways of seeing and thinking about photography. PORTFOLIO CLICK ON IMAGES TO ENLARGE 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.

THE FINNS Simo Väisänen's Finnish street and documentary photographs speak to the viewer very directly and sometimes leave room for questions and wonder. THE FINNS October 23, 2020 INTERVIEW PHOTOGRAPHY Simo Väisänen INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Simo Väisänen is a Finnish self-taught photographer. He is mostly interested in people, places and details. His love for old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's productions have partly influenced his photographic style. His street and documentary style photographs speak to the viewer very directly and sometimes leave room for questions and wonder. For this interview Simo shared with us some photos from two of his series, "The Finns" and "Almost Photography". “I was born and raised in Kuopio, Finland in the middle of the beautiful Finnish Lake district. After my studies in Oulu, Helsinki and Jyväskylä Universities I got a position in Mikkeli, which is also surrounded by big lakes. Both Kuopio and Mikkeli are situated in Central Finland. I am a Special Education Teacher and Teacher of the Deaf. My interest in photography started as a school boy. Me and my kid brother once got an Agfamatic 100 Sensor camera for Christmas. We really put that camera through its paces and the images we took were pure expressionism. Later, during my studies in Oulu I bought a second hand East German miracle called Praktica Super TL with a 50mm lens. I used that mainly to take photos of my family and friends. After that photography has been an essential part of me.” IN CONVERSATION WITH SIMO VÄISÄNEN THE PICTORIAL LIST: Simo, please tell us what is it that you want to express through your photography? And what are some of the elements you always try to include in your photographs? SIMO VÄISÄNEN: Photography is almost always associated with a reproduction of reality. To me photography is making known my thoughts or feelings. The reality of the world we live in becomes the reality of how I use my visual language or how I feel about a specific idea or subject. Daido Moriyama once said ”Photography is the expression of our desires”. That’s how it is. Light is photography. Photography is painting with light. If the light is uninspiring or dull I just don’t shoot. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? SV: I believe I could say my passion for photography is my constant source of inspiration. I usually shoot for a theme and try to visit somewhere new to get out of my comfort zone. Favourite place to photograph? Could say anywhere. But I could travel to the end of the world and feel frustrated if the light and the environment didn’t inspire me. TPL: Do you think place matters? Do you try to show a sense of place in your photos? SV: Any place is good enough If I find the place interesting and inspirational enough. To me a sense of place is a feeling or perception I hold. That’s why my photographs differ from all others. TPL: Do you have any favourite artists? SV: My love for old Finnish B&W movies, Italian neorealism and Akira Kurosawa’s and Sergei Eisenstein’s production partly explain why I photograph as I do. And if you don’t understand Daido Moriyama or Junichiro Tanizaki you don’t know me. TPL: You have shared with us a story about the Finnish circus. What gave you the idea of doing a photo series on the circus? SV: I’ve always loved circus. It all begun when me and my kid brother hadn’t even started school yet. Our Mum took us to a circus which had come to our home town Kuopio in Finland. It really took me back to my childhood memories when our daughter was old enough to be taken to circus. It was then I realised I must start recording the present that one day will be the past to my daughter. Finland is the most kick-ass country in the world! TPL: The circus is a place of colour and light. How come you chose to use black and white for your photo essay? Especially since your photos in your Instagram gallery are otherwise often colourful. How do you decide what should be presented in black and white and what in colour? SV: If you look closely you’ll notice that only 62 of my 309 images in my Instagram gallery so far are colour images. That alone proves I’m a B&W guy. As you said circus is a place of colour and light. The light, however, is never constant and therefore you must start using high ISO values. That leads to colour noise. I shoot B&W for all classic reasons. It’s a creative choice. When you shoot for black and white, you challenge yourself to remove the distraction of colour. These include colour casts and differences in colour temperature (ambient light sources), as well as specific colourful elements that are strong, which may reside in the background or take away from your story. I even set my camera for B&W. That results in B&W photos on my LCD and in my viewfinder and allows me to better see lighting, shape and form. I reserve colour mainly for travels, family snapshots and random weddings and funerals. The light must really be something special if I otherwise start shooting in colour. Of course I recognise a good colour photograph when I see one. TPL: When you go out on the streets, 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? SV: I’ve always thought that the world is full of images just waiting for us to come and get them. When I hit the streets my main target is people, but I won’t spit on any other potential good image either. The more you shoot the luckier you get. And the luckier you get the better images you get. 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? SV: There’s a tool for every task. When I hit the streets I want to be as inconspicuous as possible and use wide angle primes. Getting close to the subject has never been a problem to me. My The Finns Series is a proof of that. When I don’t have to worry about being noticed a 24-70mm f2.8 zoom is my tool of choice. I jumped on the mirrorless wagon very early on. Currently I use Nikon mirrorless cameras and lenses. The future is absolutely mirrorless. I’m a Nikon Z Creator. TPL: Have you ever been involved in the artistic world before photography? SV: Music has always been a part of me. My register in a male choir was Second Tenor but unfortunately I had to leave the choir because of my work. I just couldn’t find time enough for evening rehearsals or weekend courses far away from my hometown. However, I haven’t forgotten singing completely. When the house is empty I turn into an operatic tenor. Otherwise I sing in the shower to my family’s delight. Believe you understand. TPL: Are there any 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? SV: I constantly add images to my old photo series. Don’t know for sure yet but I’d like to devote next winter to winter images of Finland in black and white. That would also involve going to the woods. I used to be a nature photographer before mirrorless cameras so that won’t be a problem for me. First and foremost photography is something that makes me feel happy. I couldn’t imagine life without it. When I see a good final image on my computer screen or as a print, the emotion is often physical. In addition to this very personal side I want to expose my work in public. All artists need publicity. If my images make people feel even a tiny bit the way I felt when I made the image, I’m happy. I don’t actually believe in photo exhibitions. I really hope I could publish a book at least in five years. Exhibitions come and go. Photo books last forever. TPL: "When I am not out photographing, I (like to)… SV: When I am not out photographing I like to spend time with my family, listen to my favourite music or read books. Sometimes I have to forget music and books completely because of editing my images. But as I said before, post-processing can be devastating, it can be revelatory, it can actually be great fun." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. 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.

MAKING NOISE As a very sociable person and able to talk to everyone, street photography for Noisy Kid is an artistic discipline that he practices simply. MAKING NOISE February 23, 2022 INTERVIEW PHOTOGRAPHY Noisy Kid INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Noisy Kid has been around for quite a while; first as a musician, and now as a photographer. His fun, outgoing personality and willingness to talk to anyone make him the perfect street photographer. He's known for his unique style, which he describes as 'Wherever you are, I shoot you!' His photographs capture candid moments of everyday life with an attitude that's both playful and spontaneous. At an exhibition of his work, a lady asked him how he could photograph people so easily. Noisy Kid explained that he has the ability to connect with people quickly and without hesitation. He never waits hours for the perfect moment and instead relies on his instinct and proximity to his subjects. He's an artist with a distinct approach that comes from his experience as a musician, and as a photographer, he has mastered the art of noise in photography. “I played guitar in a punk rock band with which we did a few gigs. I had a tumour on my auditory nerve and after the operation it was prudent to stop playing music. I am a bit deaf on the left side. My nickname as a musician was Noisy Kid, now it is my nickname as a photographer. I was lucky because the notion of noise exists in photography.” IN CONVERSATION WITH NOISY KID THE PICTORIAL LIST: Noisy Kid please tell us about yourself. NOISY KID: I am a 53 year old Belgian photographer. I am very dynamic and very sociable. I live around 40 minutes from Brussels. My house is in the countryside, so it's pretty nice during a pandemic. Only the moment counts for me. I never analyse myself in relation to the past. Today I'm ok in a crazy world, I always see the glass half full, never half empty. I think that my sociable side is reflected in my images. I have a second job as an office worker (administrative expert). TPL: What draws you to photography and art? How did your journey into photography begin? NK: I started drawing when I was a little boy. I think the reason is simple, I liked comics and I wanted to reproduce what I was reading. There's nothing to intellectualise, that's the only reason. When I was older, I gave up drawing for music. I played guitar in a punk rock band with which we did a few gigs. The problem with the band was that one of the members was a drum machine, which never replaces a real drummer (at least at that time, late 90s). As for me, I had a tumour on my auditory nerve and after the operation it was prudent to stop playing music. I am a bit deaf on the left side. My nickname as a musician was Noisy Kid, now it is my nickname as a photographer. I was lucky because the notion of noise exists in photography. To start with, I bought a Nikon D7000 and joined a photo club whose members had a lot of experience and good advice. TPL: Tell us the story behind the series of images that you have sent to us. What do you want to express with your work? NK: I walk, I photograph, I talk to the people I sometimes put in the situation, I laugh. My photographs don't have to tell anything special, by its nature a portrait already gives off a lot of emotion. However, I always look at what is happening in the viewfinder of my camera. My eyes tell me if it's okay. Note that while I like photos that are simply beautiful and decorative, I do not reject those that tell a story. I've stopped photographing the homeless, it's too easy and I have no lessons to give. I prefer to give them $2 or a bowl of soup. TPL: What have been some of your favourite memories or moments in your photography journey thus far? NK: I will tell you about a moment with a London policeman I wanted to photograph. He was very playful and had a typical English humour. I felt that my camera was a remote control for him and only for him. I could ask him to do anything, even to jump in with both feet. I swear it wasn't Mr Bean. TPL: Do you have any favourite artists and photographers? NK: Robert Doisneau, Stanley Kubrick, Frank Horvat, Dennis Hopper, Léonard Misonne, Peter Lindbergh, Brassaï, John Bulmer, William Claxton, Bruce Gilden, Robert Frank, Lee Friedlander, Larry Fink, Walker Evans, Elliott Erwitt, Alice Springs, Chuck Close, René Magritte, Salvador Dali, Renoir, Piet Mondrian, J.M.W. Turner, Victor Vasarely, Paula Raiglot, Driving Dead Girl, Séverine Day, Hammer-Jam-Her,The Kinks, The Ramones, Cosmic Psychos, The Monsters, Ennio Morricone, Frank Sinatra, Rock garage, Punk-Rock, Hardcore, Alternative rock, Tim Burton, Alfred Hitchcock, Steve McQueen, Clint Eastwood, Burt Lancaster, Charles Bronson, Louis de Funès, Bourvil, Jean Gabin, Alain Delon, Jean-Paul Belmondo, Bernard Blier, Brigitte Bardot, Diana Rigg, Benny Hill, Jerry Seinfeld, Rik Mayall & Adrian Edmondson (Bottom), Marc Jolivet, Robin Pourbaix,... I walk, I photograph, I talk to the people I sometimes put in the situation, I laugh. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? NK: Peter Lindbergh, just great. I'll watch, I'll listen, I'll learn. 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? How much post-processing do you do? NK: My favourite camera at this moment is the very versatile Nikon D750, perfect for me. I keep an eye on Fujifilm's medium format cameras, not just a dream, I hope. I always look for contact, proximity with people, I always face them. Therefore, a 24-70mm f2.8 lens and a 35mm lens are largely sufficient. I also use the 24-70mm when I take pictures during concerts. A 85mm lens is my maximum limit in studio photography (portrait, fashion photography). A 70-200mm f2.8 lens? Why not but rarely because I don't have this lens. For street photography, I sometimes use a cobra flash if it's absolutely necessary or to satisfy an artistic intention. I have 2 x « Elinchrom ELC 500 monolight studio flash » + many light shapers. I use Lightroom to develop my RAW files, I use Photoshop for retouching and editing. TPL: What are your goals as an artist or photographer? Where do you hope to see yourself in five years? What do you see as the next chapter in your exploration for future projects? NK: Let's just say I'll stop taking pictures when technology allows us to take perfect photos with our own eyes. Just to say, look Blincam in 2016, a wearable camera which attaches to any pair of glasses. It lets you capture the moment instantly by a wink, or a blink. There's already a race to develop technology for the contact lenses of the future. Medically it will be great, but artistically it won't be fun for me. We will be in the world of fast and effortless photography. In five years' time, I will of course still be there. The pandemic is constraining but I want to do new exhibitions. I also hope that my online shop will be successful. The large prints I sell have a really nice quality (piezography or chromaluxe). I don't sell worldwide. For the moment I only sell where I can deliver myself, so mainly in my Belgium. TPL: When I am not out photographing, I (like to)… NK: When I'm not out photographing, I like to listen to music, play guitar for myself...let my imagination go. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. 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.

As a writer/director/editor of television, commercials and political media, still photography has always been a passion. I thought it might be time to share my work as well as invite those interested in displaying my photographs. I am currently engaged in creating mise-en-scenes —groups of photos that tell a story. DEAN GOLDBERG Out of gallery As a writer/director/editor of television, commercials and political media, still photography has always been a passion. I thought it might be time to share my work as well as invite those interested in displaying my photographs. I am currently engaged in creating mise-en-scenes —groups of photos that tell a story. LOCATION New York UNITED STATES CAMERA/S Nikon D70 (past), Fujifilm GFX 50S (present) WEBSITE https://deangoldberg.com/ @DEAN.GOLDBERG @DEAN.GOLDBERG.507 FEATURES // History In The Making Out of gallery