Born in the city of Baku in Azerbaijan, I still live in Baku, but travel often to other countries. I mostly take black and white photos and try to reflect the emotions of people on the street. I like photography so much, because I believe photography can give us energy, feelings, and inspiration in life. Within the hue of the nature and city, I always find myself calm. Most of the time I try my best to capture it in my camera. I love traveling around my city to see it's interesting creations. Wherever I travel, it is not only the place; it is also the people that make my journey memorable That is what my rules of work is all about - people and nature - reflecting my own vision as evidence of reality. My notions of what is worth looking is arranging elements and making compositions. FIDAN NAZIMQIZI Born in the city of Baku in Azerbaijan, I still live in Baku, but travel often to other countries. I mostly take black and white photos and try to reflect the emotions of people on the street. I like photography so much, because I believe photography can give us energy, feelings, and inspiration in life. Within the hue of the nature and city, I always find myself calm. Most of the time I try my best to capture it in my camera. I love traveling around my city to see it's interesting creations. Wherever I travel, it is not only the place; it is also the people that make my journey memorable That is what my rules of work is all about - people and nature - reflecting my own vision as evidence of reality. My notions of what is worth looking is arranging elements and making compositions. LOCATION Baku AZERBAIJAN CAMERA/S 3100D Nikon, Yashica 35GSN, Canon 85N, Fujifilm JZ100 @FIDAN__NAZIMQIZI FEATURES // Life in Qriz Warrior Women of Azerbaijan

I am addicted to light and constantly looking for special moments in everyday life. Even though I love landscape photography and big vistas, the images that resonate most with me are usually the ones showing something that most would consider banal. I try to capture such situations in a way that allows everybody to see what I found special about them. It can be a special angle of light, an unusual juxtaposition or a feeling of solitude in an empty man made landscape; anything that elevates an unspectacular scene to something beautiful, something worth protecting. GABRIEL SOLLBERGER I am addicted to light and constantly looking for special moments in everyday life. Even though I love landscape photography and big vistas, the images that resonate most with me are usually the ones showing something that most would consider banal. I try to capture such situations in a way that allows everybody to see what I found special about them. It can be a special angle of light, an unusual juxtaposition or a feeling of solitude in an empty man made landscape; anything that elevates an unspectacular scene to something beautiful, something worth protecting. LOCATION Dundee SCOTLAND CAMERA/S Sony A7iii, Minox 35 ML, Canon EOS 550D @SOUL_BERGER FEATURES // Topographical Vistas

PICTORIAL STORY ROCKETGIRL CHRONICLES In the face of uncertainty, these chronicles tell the story of a family's unwavering strength. It's a reflection on how courage grows in hard times — and how hope can rise, even when the odds seem insurmountable. November 28, 2021 PICTORIAL STORY photographs ANDREW ROVENKO story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For one family living in Melbourne, Australia while experiencing a sixth lockdown during a global pandemic, they made irreplaceable family experiences and fueled their creativity. Photographer Andrew Rovenko and his wife, Mariya, found inspiration in their daughter's imagination. Fueled by a mother and father’s love and devotion for their daughter, Rocketgirl Chronicles were born. The time spent together, and the connections they made are the true successes that will remain with them long after the pandemic is over. These adventures became the places where dreams really do come true, especially for Rocketgirl . Mia Rovenko is a four-year-old astronaut from earth, with a fascination with the night sky, the universe, and exploring her place in it. Andrew and Mariya felt that the lockdown was the perfect time to make their astronaut a helmet out of paper mâché and sew her a spacesuit to go with it. The empty landscapes and spaces of a city in its lockdown became other worlds in Mia’s universe or space stations and rocket ships. These chronicles document not only her curiosity and exploration in outer space, but gives her knowledge and a greater understanding and appreciation for the universe she lives in. Mia Rovenko was thirsty for knowledge of the universe. Andrew says, “Mia would constantly ask me to show videos, and read books about all things space. Facts about planets, their cores, temperatures, sizes. Then we would continue on to stars, nebulas, galaxies, and every object Mia became aware of.” Andrew admits that his new job as mission control for his little astronaut was challenging at times. Mia would question him to the extent he no longer had the answer, and he was thankful for google and a quick response. Their very first exploration to another planet was a neighbour's empty block of land overgrown with weeds, chosen because it was the closest alienated place Andrew says. When I asked Andrew how this photography project started, if there was a plan to take his camera and document the exploration, was it part of the mission? Andrew told me he never intended for this to be a photography project, so the camera did not have a special role, except to capture some valuable family memories. Even now they don’t always take the camera, and sometimes even if they do, not one photo is taken, holding those memories in their heart and soul. Andrew told me the locations are both spontaneous, as well as planned. He says, “Often we’d venture out somewhere where we planned, but found something even more interesting along the way and never reached the original destination.” Andrew says that some places that held more meaning than others were places that left a big first impression. They would revisit those places multiple times because he noted, “Repetition is one of the keys to learning. Unpredictable as to what will impress a child, a little experience can be a big experience.” Examples Andrew gives are a campfire on a beach, a taxi repair shop, and a floating dock that rises together with the tide. Andrew goes on to say, “They are portals to more questions, and learnings about how the world operates.” Mia’s mission is always the same, Exploration ! According to Andrew, “Going to the unknown, or semi unknown places, finding new things, figuring out how, what, and why, experimenting, trying, and learning is what inspired Mia. Then she would apply those learnings and conclusions from her experiments some more, in a way, no different to real scientists and astronauts. Mia is also using her imagination, thinking creatively, and critically, something that we often lose when we grow up.” I asked Andrew how the missions ended, he told me, “There’s no On , or Off , but Mia’s experiences are interwoven. In a way there is no pretense, or duality, it’s just Mia who is a little astronaut when she goes out on astronaut business.” Like most children, Andrew says, Mia is always wanting just one more exploration into her imagination, often extending her mission by a few hours. Sometimes Mia’s explorations led to terrific finds and geological specimens from the planets and universes she visited, like moon rocks, spaceship bolts, remote control sticks, and other miscellaneous objects of discovery that day. But as a respectful space traveler, Mia leaves nothing behind but the shadows of their footprints. When one looks at these images, they are solitary moments in a desolate forgotten landscape, void of humanity other than what we have left behind. Yet there is light on a young vulnerable face, reflecting the hopes and dreams of a bright future. Her youth and innocence protected from the past and present, remain the inspiration and catalyst for a better tomorrow. Andrew says, “For every parent, the future of their child is something that’s a constant worry, and also a hope. They go hand and hand and it's always been this way, especially in current times.” Andrew prefers the viewers to make their own interpretations of the work, without clouding their judgement allowing the viewer to determine their own perspective. For him, “All our perceptions are true to us because of our own personalities, experiences and biases, irrespectively of the author’s original intent.” Andrew believes there is no right or wrong, and if the photographs evoke emotion or provoke thought, that is all he could hope for. This project was a family collaboration, being a positive influence in difficult times, becoming the glue that is making impressionable family memories. The time they spent together and the connections they made, Andrew feels are priceless, especially at that age. He firmly believes, “As bad as the pandemic is, everything has positives, and in some cases even outweigh the negatives.” The pandemic has allowed the opportunity for Andrew to stay and work from home, making his commute to work time, their adventure time. Andrew and Mariya hope that the connections they have all built, will remain with them all for a lifetime. These chronicles are a tribute to a family's strength in hard times, and inspiration on how to find the possible in the seemingly impossible. 'The Hangar' © Andrew Rovenko 'The Landfield' © Andrew Rovenko 'Lonely Games' © Andrew Rovenko 'Rover' © Andrew Rovenko 'Rocketgirl' © Andrew Rovenko 'Long Distance Call' © Andrew Rovenko 'The Facility' © Andrew Rovenko 'Beetle' © Andrew Rovenko 'City Line' © Andrew Rovenko 'Mariner Mission' © Andrew Rovenko 'The Block' © Andrew Rovenko 'Homecoming' © Andrew Rovenko 'Firekeeper' © Andrew Rovenko Andrew Rovenko is a photographer and creative technologist, originally from Odessa, Ukraine. Andrew moved to Melbourne, Australia more than fifteen years ago, where he now works and lives. Andrew started his family here and shares his life with his wife Mariya, an artist with a degree in theater costume design, and his four-year-old daughter Mia, Rocketgirl . view Andrew's portfolio Read an interview with Andrew >>> 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.

SOHO SHADOWS Using layers and reflection, shadows and light in his photography, Darren Sacks wants to show the frequently photographed Soho in a slightly different way. SOHO SHADOWS February 3, 2023 INTERVIEW PHOTOGRAPHY Darren Sacks INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For Darren, photography is far more than just a hobby; it’s a way of life. From his childhood days spent with an old book of photos tucked under his arm to his current work capturing the beauty of the everyday, Darren has been on a lifelong journey in pursuit of capturing moments that will last forever. It all began when he was a young boy, finding a book of photos and marveling at the beauty of what he saw. As he perused through the pages, something stirred in him - a passion for photography. Even then, Darren knew he wanted to freeze time and preserve memories that could be shared and admired for years to come. And so, in an effort to learn more about this art form, he began studying and experimenting, gradually honing his skill until he could finally call himself a photographer. Today, Darren spends his days around central London, seeking out scenes and objects that are often overlooked and helping them to shine in a new light. By combining layers, reflections and creative use of shadow and light, he is able to transform ordinary scenes into striking works of art that draws in viewers. Through his work, Darren is able to share his passion for photography with the world, and continues to strive to find unique ways to capture moments. Join us as we explore Darren’s journey as a photographer. “I enjoy using light and shadows, layers and vibrant colour to create my images and will usually spend time building and layering a scene once I find a composition that I think could be interesting.” IN CONVERSATION WITH DARREN SACKS THE PICTORIAL LIST: Hello Darren…welcome to The List! Let's start by telling us about yourself. What would you say first drew you to photography? DARREN SACKS: Hi there, thanks for having me. I am originally from Johannesburg, South Africa and moved to London six years ago. I am a UX designer in London. I was initially drawn to photography because I liked being able to document moments that would otherwise be missed. I always remember having a camera with me and wanting to document moments while travelling. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? DS: I enjoy using light and shadows, layers and vibrant colour to create my images and will usually spend time building and layering a scene once I find a composition that I think could be interesting. When I am taking photos I don't usually include a subjects’ face as the primary focus of a shot. Instead I will look to weave a human element into an abstract scene be that through silhouettes, shadows or some details. I think there is a paradox in my work because I prefer to shoot with longer lenses which quite often would simplify a frame and lead to not having many subjects or objects in one image. Yet, very often I enjoy creating layered, abstract works which have a certain complexity. TPL: Could you tell us what living in London has inspired in your work? What special qualities unique to London influence your street and the way you portray your community? DS: Moving to London really inspired me to start taking photos again. Being a foreigner in London, I still feel like a tourist in my own city. I think street photography really enables me to appreciate the smallest details that would often be overlooked. TPL: When you take pictures, do you usually have a concept in mind of what you want to photograph, or do you let the images just "come to you", or is it both? Please describe your process. DS: The only thing I know when I go photograph is the approximate area I will start for the day. The rest is totally unplanned, and that for me is one of the most enjoyable things - never knowing when or where I’ll get my next shot. I often joke that my directions around London are not great and they really should be as I spend hours and hours walking the streets, but I’m so absorbed in what’s going on around me, I often don’t know where I am. That’s something I really like about street photography, being in the middle of a really busy and noisy place, but being so focused on noticing light or moments that it almost becomes silent. I think there is something really powerful in that. TPL: What is the most rewarding part of being a photographer for you? What are some challenges that you have faced? DS: Photography has taught me patience, sometimes I will revisit a place over time for a shot or stand in one place for a long time to capture that single image. The reward of capturing that moment is a great feeling. Recently, someone I took a photo of, found their image on Instagram and was really happy with it. That was also pretty cool. I have also managed to build a great network through Instagram, and engage with people from all over the world - which I really appreciate. A challenge - sometimes I’ve gone through periods where I’m not getting shots I like or I feel like I’m not growing as a photographer and I suppose it’s about being able to reflect and switch it up to stay motivated and move forward. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? DS: This is a great question - and I am sure all photographers can relate to this. I don’t think it’s possible. I was in Central London the other night without a camera for the first time in a long time and I felt like I could not switch off from being aware of what was going on around me or from looking for a shot. Moving to London really inspired me to start taking photos again. Being a foreigner in London, I still feel like a tourist in my own city. TPL: How do you manage a work/photography balance? DS: I’m fortunate to have a good balance. In the Summer I try to shoot twice a week and in the Winter only once a week. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DS: My favourite photographer and biggest inspiration is Saul Leiter. I’m fascinated by the way he constructed his images. His use of colour, light and layers is incredible. I also enjoy the work of Ernst Haas, William Eggleston, Alex Webb and Joel Meyerowitz to name a few. TPL: If you could just choose one photographer to photograph alongside for a day...who would you choose? And why? DS: It would have to be Saul Leiter. It would be incredible to be able to observe his process while he captured those legendary images. But also having the opportunity to be able to chat with him about his approach to life and photography would be excellent. Leiter was known for being extremely humble, not being a boastful person and always treating others with kindness and respect. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Does the equipment you use help you in achieving your vision in your photography? Is there anything on your wishlist? DS: The first camera I held, brought to my eye and released a shutter on was my father’s Yashica FX-7 (I’m not sure there was any film in it - I may have been only 5 at the time but I always wanted to hold that camera and click the shutter). My first camera was a Nikon D90 which I still have. I currently shoot with Fujifilm. I have an X-Pro2 and X-H1 and my everyday lens is the 50mm F2. I do have a 55-200mm which I enjoy using for my layering and reflection work as it provides great flexibility and other options for getting a different perspective for abstract work. I am thinking about upgrading to a newer body for faster autofocus. The Fujifilm X-H2 with the new 56mm F1.2 looks like a great combination. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? What are some of your photography goals? Where do you hope to see yourself in five years? DS: I am currently working on some project ideas, but nothing formalised as yet. I’ll update my Instagram and website with news on these. My main photography goal is to continue to grow and evolve as a photographer and continue to try to shoot things in my own way. Having an exhibition and printing a photobook are also part of the future plans. In five years I hope to be able to look back to now and be happy with the growth I’ve made in my work. TPL: “When I am not out photographing, I (like to)… DS: Play tennis, play the guitar and sing.” Darren Sacks' inspiring journey shows us his relationship to his city, discovering the streets with his camera and showing us a different side of Soho in London, capturing the moments and transforming them into works of art. We invite you to join us as we explore more of Darren's photography. VIEW DARREN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak not only paid homage to his timeless work but also embarked on a transformative journey. March 2, 2024 PICTORIAL STORY photography KARIN SVADLENAK story KARIN SVADLENAK introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In following the footsteps of the masterful Ansel Adams, Karin Svadlenak not only paid homage to his timeless work but also embarked on a transformative journey. Her project in the Dolomites stands as a testament to the enduring power of black and white photography and the emotional depth it can convey. Through her endeavours, Karin has not only deepened her own understanding of the craft but also offered a contemporary homage that resonates with the timeless beauty Ansel Adams captured. A public relations manager for a university department in Vienna, Austria, a world traveller, and passionate magazine editor and blogger, Karin combines an insatiable curiosity for art, culture, and photography with a love for storytelling. Karin’s photography project serves as a compelling reminder that the art of photography is not merely in the act of capturing an image, but in the meticulous process of creating a visual narrative that speaks to the soul. Just as Ansel Adams believed, a photograph is indeed made, not taken. Karin’s journey reminds us all to look beyond the surface, to study the play of light and shadow, and to find inspiration in the legacy left by the masters of our past. Through her photography and writing, Karin continues to be inspired by Ansel Adams and his legacy. She, like many others, recognises him as the Master of Landscape Photography and is grateful for the opportunity to honour his work through her own. “You don't take a photograph, you make it.” - Ansel Adams I started landscape photography at a young age. At that time, I was shooting with a Minolta XG 2, a high school graduation gift, and on trips I would look for deserted landscapes for my compositions. One day, I came across a book of Ansel Adams’ photographs in a bookstore and was deeply impressed by his dramatic black and white images. Ansel Adams is considered one of the most important photographers of the 20th century. His landscape photographs of the American West, beginning with his photos of Yosemite National Park in the 1930s, are world famous. Adams used the elements of composition, such as lines, shapes, light and shadow, for his high-contrast black and white photography. These were not snapshots; he went out with a large format camera on a tripod and would wait patiently for the right light and compose his images very carefully. He also developed his ‘Zone System’, a photographic technique used to achieve optimal exposure and development in black and white photography. It’s essentially a system for understanding and controlling the tonal range of your image. The system divides the tonal range of an image into eleven zones, numbered 0 to 10. Zone 0 represents pure black, zone 5 represents middle gray, and zone 10 represents pure white. The system was developed for film photography, where exposure has to be handled a little differently from digital photography (exposing for the shadows rather than the highlights for the most part). But some of it was also done in post processing. The development process further affects the final tonal range. When one is not familiar with film photography, one might think that analog photographers did not have a lot of editing possibilities. This is true if you have your photos printed in a lab. But if you develop your own negatives and prints, you could actually do quite a lot. By adjusting the development time for both, you can influence the contrast and density of your negatives, you can highlight certain areas of an image and darken others, further refining the tonal relationships within your image. Knowing this, I did not feel apprehensive about using dodge and burn on my digital images to achieve the desired effect, even when I digitalise analog photographs. For my “homage” project, I had the opportunity to photograph (with an Olympus EM10 Mark III) the beautiful mountain landscape in the Dolomites. The Alpine landscape that I photographed was particularly suited to black and white images, because I was also primarily interested in the dramatic shapes and lighting conditions that I found there. The atmospheric conditions that day were perfect, lots of fog and clouds, but also later blue skies and a lot of good light for contrasty images. Although I originally shot the images in colour, for this homage to Ansel Adams I tried to edit them in his style: high contrast, with a lot of dodging and burning (in my case digitally), and of course in black and white. Ansel preferred black and white even when colour photography became popular. The contrasts between light and shadow underline the drama and intensity of his images. I undertook this project for a final exam presentation at the Prager Photo School for Artistic and Applied Photography in Linz, Austria. I completed a two-year training program there in December 2023. One of the elective modules was Landscape Photography, so this was it. This project was a great learning experience for me. While I was familiar with Ansel’s photography, for this project I looked at many photographs more closely and learned a lot about his photography style. I am very happy with the results of this project, and I am grateful for the opportunity to have it highlighted. © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez © Karin Svadlenak Gomez As we reflect on Karin’s beautiful photographs, we are reminded of the profound impact a single photographer can have on generations to come. The ability to see beyond colour, to manipulate light and shadow, and to harness the raw beauty of nature in a frame, is a skill that Adams mastered, and Karin has respectfully emulated. Her work encourages us all to explore the world with fresh eyes and to appreciate the intricate balance between technique and vision. In the spirit of Adams’ wise words, Karin Svadlenak has not merely taken photographs; she has made art. May her dedication inspire others to pick up their cameras, to study the Masters, and to create with passion. For in the dance of light across the film — or the pixels on a sensor — we are all bound in the pursuit of capturing the sublime, and in doing so, honouring the Masters upon whose shoulders we stand. view Karin's portfolio Read an interview with Karin >>> Read Karin's exhibition review "City of Images" >>> Website >>> Viennacultgram >>> Spectaculum Magazine >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

THE 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 SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link 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." Simo Väisänen's photographic style is sure to leave a lasting impression on viewers. His mastery of street and documentary photography has allowed him to create moving and thought-provoking works of art that remind us of the influence of old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's productions. We are left with questions and wonder as we view his photographs. If you want to experience Simo's genius for yourself, take a moment to view more of his photography. VIEW SIMO'S PORTFOLIO Read THE SHOW MUST GO ON by Simo Simo's website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

RED BLOOD In his series of portraits, Rpnunyez composes stories where the main character weave a tapestry of sensations that give voice to that story. RED BLOOD August 12, 2022 INTERVIEW PHOTOGRAPHY Rpnunyez INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Rpnunyez is a Spanish documentary photographer with an ability to capture the human experience in all its complexities and nuances. He doesn't attempt to capture what he sees, but instead seeks to capture what he is - a quest to document the universal truths of being human. Through his lens, Rpnunyez captures moments that speak to us in ways that are deeply personal and meaningful, creating photographs that are not just art objects but tools that provide a glimpse into a shared human experience. As he states, “the value of a photograph is shared, at least in equal parts, between the photographer and his models, who tolerate and accept his presence, who endure on many occasions his intrusion and insolence, and who in the end, are converted into paper and unaware of the passage of time, allow themselves to be observed, returning to us like mirrors, some unknown part of ourselves.” But what if those moments were presented without any context? What would be revealed without the associated visual clues? Rpnunyez has explored this concept in this series of portraits, in which he has deliberately decontextualized the models in order to focus on the essence of what it means to be human. By stripping away the surrounding environment, we are given the opportunity to look deeper into the very soul of the subjects, allowing us to contemplate something beautiful and mysterious that may have otherwise gone unnoticed. This series of portraits invites us to take a journey of discovery and appreciation, unearthing a deeper understanding of human nature. “We tend to focus on the where and the how, and perhaps we should focus our attention on the who? Certainly, we share neither country nor language nor religion, but the blood that flows through our veins has the same red colour and perhaps that should be enough.” IN CONVERSATION WITH RPNUNYEZ THE PICTORIAL LIST: Rpnunyez please tell us about yourself. When did you first consider yourself a photographer? How did you get your start? RPNUNYEZ: I was born in a small town in Zamora, Spain where I grew up until I completed my higher education at the Polytechnic University of Valencia. My working life has been spent in equal parts as an engineer and technology teacher in high school. Nowadays, retired, I dedicate myself completely to photography. My first great trip was to Senegal, it was a dream I had in my mind for many years that I thought would be impossible to realise but that in the end happened. That trip has been a turning point in my life for several reasons. The first reason is that it was the first trip of many other trips to Africa, I always say that when you travel to Africa you are marked for life. Everything happens as if you made a trip in time and at the same time a journey towards your interior. The second reason why this trip was so important to me is that I discovered my passion for photography during the trip, a passion to which I now dedicate most of my free time. TPL: How much does documentary photography in particular play a role in your overall photography experience? What is it that you love about it? R: Documentary photography is essential to me because when I met (for the first time in my life) cultures and people so different from what I had known until then, I began to believe that contrary to what one normally tends to believe, there are many more things that make us similar than things that make us different. I believe that emphasising this last idea is necessary and even essential. The opposite idea, that’s normally accepted by western societies, is based precisely on overestimating differences between countries, differences between cultures, differences between religions, and differences between economic statuses which separates, confronts and generates the pain and suffering in the world. Travelling, as a Spanish philosopher once said, is the best vaccine against intolerance. Travelling expands your geographical horizons and as a consequence inevitably enlarges your mental and personal horizons. Traveling allows me to better understand human beings, both the good and the bad, and I try to transmit that understanding in my photographic projects. TPL: Introduce your series RED BLOOD to us. When and how did this project first manifest for you? What is the full story behind the project? What was the inspiration? R: RED BLOOD was basically provoked by the two years of pandemic during which it was impossible to consider a documentary photographic project due to the restrictions. It responds to the vital need to remain immersed in my own photographic world, but seen now from the perspective of a completed project I realize that it is a true statement of how I understand the world and how I try to express that vision. If there is one constant in the life of a photographer, it is the thousands and thousands of encounters, some of them fleeting, whose permanence in the memory is based on the photograph taken, and others accompanied by long conversations or true stories lived in common. Be that as it may, when someone enters the frame, when you manage to catch that split second by mocking time itself, what has just happened there, inevitably becomes part of yourself. That and no other is the human dimension of my way of feeling photography and that is the meaning of my relationship with the people portrayed. Maybe we don't share a way of life, religion or country, but, no matter how much time has passed, they all accompany me wherever I am and, even though they are blurred by the passage of time, they populate my memories. Almost without realising it, they have ceased to be "the others"; they are something like my extended family. We tend to focus on the where and the how, and perhaps we should focus our attention on the who? Certainly, we share neither country nor language nor religion, but the blood that flows through our veins has the same red colour and perhaps that should be enough. TPL: Talk to us about your method and experimentation before the final images in your project. Did you know how you wanted the project to look? How long did each image take to create? R: RED BLOOD, like all my previous projects, only started its path when its idea and concept are perfectly defined. I never undertake a project without a meticulous previous planning even though I am aware that this planning can become, as in fact it does, obsolete because the project itself comes to life and leads you, sometimes, to unsuspected paths. I couldn't say the time for each image, but for the overall project I spent about a year and a half. TPL: How does RED BLOOD differ from your previous projects? Is this the type of visual storytelling something you would like to pursue again in future projects? R: I would say that RED BLOOD is effectively more of a photo essay than a documentary photography project. And it is the only one that isn't in black and white. It has been the only time that I have not considered color as a kind of mask that prevents me from seeing the true reality of things. Beyond the scientific theories about color and how we perceive it, but without disdaining them, when I photograph I imagine the world dressed in an infinity of layers of colors. I imagine it hidden under those layers - that immense palette of chromatic colors - which distract my brain and hide from me the elusive essence of things. An essence that I am only able to apprehend when I remove them, letting the forms, in their full nakedness of grays, show themselves in all their splendour. In this case I considered that the color red, symbol of blood, would visually convey the essence of the project in an effective way. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? R: Three photographers have been essential in my life: Ansel Adams, Wayne Miller and Marc Riboud. From Ansel Adams, I learned the secrets of analog photography and despite all the technology that surrounds us I still think of his zone system when I shoot and I maintain the firm decision to use the current software as if I were in my old analog lab ignoring the immense amount of new digital tools. From Wayne Miller, I am captivated by the confessed humanistic dimension of his work and the undeniable emotional force of his images. From Marc Riboud, I am inspired by the impeccable, austere and apparently simple construction of almost all his images as well as the neatness in the treatment of the whole range of grays. I do not photograph what I see but what I am. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? R: Cristina García Rodero, whom I know personally and who is, from my point of view, one of the best Spanish photographers of all times. TPL: Do you have a favourite photography/art quote that has been an inspiration to you? R: Sometimes we tend to disdain the power of a simple phrase. Not so for me when I first read this quote by Wayne Miller - "We may differ in race, colour, language, wealth and politics; but consider what we have in common: dreams, laughter, tears, pride, the comfort of a home and the desire to love. If I managed to photograph those universal truths..." A quote that is always present in my projects, in my travels and in my life. TPL: What camera/s do you use? Do you have a preferred lens/focal length? Is there any particular equipment that is on your wishlist? R: I never liked zoom lenses. I like to zoom with my feet which allows me to get not only physically but emotionally close to the subjects I photograph. My photographic equipment is small: A Nikon D810 with a 35mm f/1.8 prime lens. A Nikon D7100 with a 20mm f/3.5 manual prime lens. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? R: I never think about myself as an artist but as a photographer, faithful to my principles, alien to anything that has to do with fashion or the ephemeral and always looking for new projects that speak of the human condition. Thinking about what will happen in five years...Can anyone hold that answer in their hands? Yes, we tend to have that temptation, but I prefer to focus on the now in a way that every project I carry out is always the best possible. TPL: Are there any special projects that you are currently working on that you would like to let everyone know about? R: I am currently preparing my next project about the legacy of the Sufi mystic Molana and as a continuation of one of my series of DIARIOS PERSAS & TALKING WITH MOLANA. TPL: “When I am not out photographing, I (like to)… R: Usually read, enjoy my family, do some sports or go hiking.” The work of Rpnunyez shows us that photography can connect us to parts of ourselves we may have never known existed. Through his unique approach, he reveals the truth of our shared human experience and encourages us to look beyond the surface to discover the beauty and mystery that lies beneath. It is this power of connection that makes the work of Rpnunyez so remarkable and inspiring. VIEW RPNUNYEZ'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I take photographs every day. I also paint, sing and dance. I like to walk around without an agenda and catch whatever piques my eye. I’ve always been into art but additionally have loved fashion, popular culture, languages, music and dancing since I was a child. I was born in London into a Persian Jewish family. My mother was an Israeli ballet dancer, from whom I inherited a love of dance and music. I even imagined becoming a fashion designer and spent my free time drawing and designing clothes. I’ve used a camera most of my life; my father had bought me a Kodak Brownie 127 when I was kid. At home we placed a lot of value on family photographs and home movies. As a teenager loved going to art galleries on my own; it felt like an adventure and an entry into a fascinating world and an escape from suburbia which I considered frustrating and boring. I studied art history with Italian and French languages at Sussex University. It was during my year abroad in Venice that I started developing my own photos in a darkroom. My camera at that time was an Olympus OM1. I was also painting on canvas, mainly abstract expressionist still life and self portraits, but increasingly felt that the future for me was in photography and not fine art painting. On my return to England I also worked as an artist’s model which gave me an understanding of what it’s like to be on the other side of the artist’s eye or lens. In the late 80s I did a degree in Photography and Visual Culture at the University of Westminster, studying Semiotics and the writings of Saussure, Roland Barthes, John Berger and Susan Sontag as well as the work of photographers such as Jo Spence whose project Beyond the Family Album really resonated with me. I later went on to teach interdisciplinary courses in Art History, European Studies, Visual Culture and Film studies for many years which also involved curating film programmes for an independent cinema, before deciding to focus on my own creativity and Blog. Now, in my mid 60s, I feel blessed to be able to live a creative life. MISH AMINOFF I take photographs every day. I also paint, sing and dance. I like to walk around without an agenda and catch whatever piques my eye. I’ve always been into art but additionally have loved fashion, popular culture, languages, music and dancing since I was a child. I was born in London into a Persian Jewish family. My mother was an Israeli ballet dancer, from whom I inherited a love of dance and music. I even imagined becoming a fashion designer and spent my free time drawing and designing clothes. I’ve used a camera most of my life; my father had bought me a Kodak Brownie 127 when I was kid. At home we placed a lot of value on family photographs and home movies. As a teenager loved going to art galleries on my own; it felt like an adventure and an entry into a fascinating world and an escape from suburbia which I considered frustrating and boring. I studied art history with Italian and French languages at Sussex University. It was during my year abroad in Venice that I started developing my own photos in a darkroom. My camera at that time was an Olympus OM1. I was also painting on canvas, mainly abstract expressionist still life and self portraits, but increasingly felt that the future for me was in photography and not fine art painting. On my return to England I also worked as an artist’s model which gave me an understanding of what it’s like to be on the other side of the artist’s eye or lens. In the late 80s I did a degree in Photography and Visual Culture at the University of Westminster, studying Semiotics and the writings of Saussure, Roland Barthes, John Berger and Susan Sontag as well as the work of photographers such as Jo Spence whose project Beyond the Family Album really resonated with me. I later went on to teach interdisciplinary courses in Art History, European Studies, Visual Culture and Film studies for many years which also involved curating film programmes for an independent cinema, before deciding to focus on my own creativity and Blog. Now, in my mid 60s, I feel blessed to be able to live a creative life. LOCATION London UNITED KINGDOM CAMERA/S Leica d-lux 7, Fujifilm xt4 WEBSITE https://www.mishaminoff.com/ @MISHAMINOFF FEATURES // End Of An Era

THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. THE ART OF SELF June 21, 2024 INTERVIEW PHOTOGRAPHY Mia Depaola INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The Pictorial List has the pleasure of presenting an intuitive photographer with a strong creative inner perspective that inspires. Mia Depaola is a Washington D.C. luminary whose artistry transcends borders and languages. From her earliest memory, the language of photography and art has always intrigued Mia. It focused her critical and creative thinking, shaping her perceptions while illuminating the world in poetic visuals. Born beneath the azure skies of Portugal, nurtured and educated amidst the cultural tapestry of Belgium, Mia speaks three languages infusing her work with richness and depth. She embarked on a journey that traversed numerous countries, each contributing to the kaleidoscope of experiences that shape her visual storytelling. Mia found solace and expression in the language of art and photography. It was through the lens of her father's Polaroid that first glimpsed through the viewfinder ignited in her, the power of visual storytelling. Imagine the legacy of the hobbyist, and the photography that he imparted, transcending generations and epochs. Initially, Mia’s photographic endeavors mirrored his, capturing the essence of travel and familial moments. Yet, as the sands of time shifted, so too did Mia’s artistic evolution. Photography ceased to be a mere documentation tool; it transformed into a conduit for profound artistic expression — an extension of my innermost thoughts and emotions. An introvert by nature, Mia sought solace and camaraderie within online photography communities nearly a decade ago. Here, amidst pixels and screens, she found a sanctuary where creativity knows no bounds. Guided by the wisdom of online courses and the collective encouragement of fellow artisans spanning the globe, Mia embarked on a journey of self-discovery and technical mastery. Here, amidst the collective wisdom of fellow artisans, she honed her craft, experimenting with techniques and embracing the boundless possibilities of their art. Driven by her relentless passion encouraged by the supportive and kind words of friends and colleagues globally, Mia gained confidence and started submitting her work, developing a clear dialogue, while growing as a photographer. Yet, amidst the accolades and acclaim, their artistic journey remains grounded in the simple joy of creation, a true testament to the transformative power of the art of photography to unite souls and transcend boundaries. When the world came to a standstill due to the pandemic, it was as if someone pressed pause on our lives. Suddenly, familiar places were off-limits, and we found ourselves confined within the walls of our homes. As the days stretched into weeks, Mia began to explore the intimacy of their own space through the lens of her camera. She embarked on a journey of self-discovery through self-portraiture. With each click of the shutter, she set out to visually captured raw emotions rather than staged poses. Mia wanted to peel back the layers of her very own existence revealing the complexities hidden within. At first, the process felt almost too revealing, her exposure to recognizable. As Mia delved deeper into her photography, she began exploring ways to add texture and mystery to each image. Experimenting with techniques such as layering and multiple exposures, she discovered new dimensions of her self-expression. Every photograph becomes a canvas for exploration, a reflection of a complex myriad emotions. “Most times I envision the type of feeling I wish to convey before I press the shutter button…multi layering because we’re all multilayered and complex.” Other times, the images would take on a life of their own, revealing aspects of Mia that surprised her and had never before acknowledged. As the weeks turned into months, Mia’s work began to gain recognition. Her photographs were published, awarded, and exhibited in galleries. What had started as a personal project born out of strange and sometimes almost impossible circumstances soon evolved into something greater than Mia could have imagined. The “Pandemic Diaries,” was the original title of this series, it became a testament to the resilience of the human spirit in the face of adversity. It was a visual diary of her journey through isolation, a reminder that even in the darkest of times, there is beauty to be found. But as the world began to slowly reopen, Mia realized that her journey was far from over. The “Pandemic Diaries” had morphed into something new, something more expansive. It had become the “Artist Next Door,” more recently developing into “MiArt”, presently “The Art of Self”, an exploration of the art of self-discovery. Through these photographs, she invites others to join her on this journey of self-exploration. To peel back the layers of their own existence and discover the beauty within. For we are all multilayered and complex, each of us a work of art waiting to be unveiled. And through the lens of her camera, she captures the essence of what it means to be human. We asked Mia some questions about her inspiring journey as a visual storyteller, and about her project that she has been so diligently working on for almost a decade. “Photography and art have always been part of my life. I’ve recorded memories like snapshots long before I held a camera.” IN CONVERSATION WITH MIA DEPAOLA THE PICTORIAL LIST: Hi Mia, thank you for sharing your personal perspective and brilliant project you started during the trying and confining isolating time of the Pandemic, that continues today. Please tell our readers about how you saw yourself at the onset of the project, in comparison to how you see yourself now. Have you changed? If so, how? MIA: At the onset of the pandemic, I wasn’t unreasonably concerned. It’s when lockdowns started that it became more difficult for me, especially with mobility restrictions. I do lots of street photography actually, on the way to some routine errand I usually take a lightweight camera and I look around. I follow the light, what mood is there? I don’t photograph people, I’m more interested in ordinary things, trivial stuff like flowers for instance. So, I missed that right away when confinement was the norm. What am I going to photograph now? So, it hit me, why not document yourself. The pandemic, it definitely pushed me in different directions. TPL: Did the project help you cope with the Pandemic? What skills have you strengthened, learned, developed in your search for ‘Self’? MIA: The silver lining if I may use that phrase, is it propelled me to learn new things, getting more comfortable with portrait photography. So, I put my portable backdrop in my kitchen or in the guest bedroom and started photographing myself. Split lighting was my favorite, occasionally butterfly lighting. Eventually I started experimenting more with lighting to try to achieve different shadows, a bit of drama 😊, split lighting is still my preferred option in most selfies. It was like therapy in a way. I believe it helped me grow some self-confidence and at the same time procured a positive diversion from the unusual time we were going through. TPL: Were there photographers you looked to for inspiration, direction? If so, who were they and were they interested in self-portraiture? MIA: I don’t recall looking up for particular portraitists, I would look online for tips and try to apply them. Eventually I felt unsatisfied with the results, it was too intimate, my emotions bare, too raw. That’s when I came up with the idea to experiment with layers. I tried and used several different types of editing tools allowing me to superimpose images. Overlay add, lighten or darken opacity. Every image is processed differently. Some layers work well, and others don’t. Some images take days to complete, others will take just a few hours. What I mean is each piece is uniquely processed. Some images include only 2 or 3 layers others can be up to 10. TPL: You say that the project has changed and developed from the initial start of this study during the Pandemic, what are these changes? Have they changed the way you engage and then process your work? MIA: The main change is the gain in knowledge for image processing, I finally tackled photography editing tools like photoshop and more recently I’ve started using Affinity. And on a personal level, it’s been life affirming to have some of my work being published, awarded and even exhibited. Never imagined my work would interest anyone enough and that I would get accolades from such a personal project. TPL: What are some challenges or obstacles you faced, and how did you overcome them? Share some personal wisdom and advice with our readers. MIA: Oh, I’m not sure I’m wise, humbly I would just say believe in yourself, keep trying and be curious. Also, that no project is uninteresting if it comes from the heart. Because the viewers will definitely see it. Some will appreciate your work while others won’t, but ultimately, it doesn’t matter, it should be about your intent, what you want to convey. You can’t go wrong like that. Focus (pun intended) on your ability to see not on your technical ability. I like this quote from Peter Adams, “great photography is about depth of feeling, not depth of field.” TPL: What are some of the successes from the project, were there any surprises you embraced? If so, please share what they were. MIA: Well, everything was astonishing to me. From the results I obtained from my imagination and new techniques of experimentation to finally taking the step to sharing and posting online, to submitting for publication…to being awarded, to being approached by an art gallery…never imagined such a personal project would get positive responses and feedback. However, I don’t want to be complacent, I wish to keep learning new techniques, try something new, in essence keeping the original project but keep growing with it as a photographer and as a woman. Maturing. I’ve always been an imaginative person ever since I was little. TPL: Do you think projects are something photographers should consider doing? What is their value? Have they helped you grow as an artist? If so, how? MIA: I humbly recommend to any photographer to have a personal project. It doesn’t matter what the subject matter is. It’s a positive endeavor and along the way, photographers will realize their project evolves because we’re evolving, we’re constantly evolving as photographers and as human beings. It’s like documenting your own journey as a photographer. TPL: What do you want your photographs to inspire in other people? What is their “takeaway”? What is your “takeaway”? MIA: Emotions, to evoke a gamut of emotions, it’s in the eye of the beholder. The viewer’s responses are varied. My work was described as dark, unorthodox, creative, artistic and even avant-garde, spooky…it doesn’t matter how it’s perceived; the most important thing is to inspire emotion in others. TPL: What inspires your unique visual storytelling? Do you have a specific message you wish to reveal to the viewer? Or is there no intention, leaving the view to draw their own conclusions? MIA: I wish the viewer to experience their own emotions. My hope is that the viewers will get some comfort at dealing with their own feelings, a sort of therapeutic experience. Releasing their own negative feelings and emotions. The thought that I could ever help someone do that would be tremendous. TPL: Where do you find your inspiration to create? When do you feel most inspired? MIA: I’ve always been an imaginative person ever since I was little. My parents and teachers would often complain about my head being in the clouds. I used to daydream a lot, fantastic stories in my mind. I sometimes think it just comes from my dreams, unconsciously. As far as inspiration, I can get inspired by an ordinary flower, for instance, that most people don’t have time to notice. The light, the mood of the moment is very important. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? Do you have a favorite quote you would like to share? MIA: Definitely Gordon Parks. “I feel it is the heart, not the eye, that should determine the content of the photograph. What the eye sees is its own. What the heart can perceive is a very different matter.” But after reflecting a bit more I would choose my father. He was a hobby photographer recording our family moments and travels. He passed away 9 years ago, and I regret not being able to share the news about my first published photo in 2019, and what would he have said? All 3 of us photographers, and all 3 of us self-taught. TPL: When you're not creating work, what else rocks your world, Mia? What would we find you doing if not photography? MIA: I enjoy cooking with fresh produce, I just love all the prep involved. I’m not a cordon bleu by any means, just simple recipes. Olive oil veggies and protein, I make lots of stews during the colder months, it’s heartwarming. Walking and hiking is another fave. Travel is a must; I love to discover other places. That's how I started my photography journey as an adult, travel photography was a way to document. As a child I used to carry my beloved Polaroid around and record family moments. I wish I had one or two of those grainy photos remaining. So, join The Pictorial List in celebrating the luminous vision of this remarkable photographer, whose work serves as a beacon of inspiration for developing self-awareness. Through their lens, we glimpse the beauty of the human spirit, forever immortalized through their insightful photography. Her interest in art, nature and travel as well as her multilingual life experience has provided opportunities to develop a unique and unconventional approach to photography. Photography is essential in her life. Following the light and her instincts, Mia sees art in the most mundane things. Her artistic vision is to evoke a gamut of emotions. Constantly looking to experiment with her work and striving to learn and grow as a photographer. Mia’s work has been published, honored with many prestigious awards and exhibits globally. Follow the link to her portfolio to see the dynamic range of visual storytelling Mia Depaola embraces, be inspired by more of her work by supporting her and following her on her social media links. VIEW MIA'S PORTFOLIO Visit Mia's 1x Portfolio >>> Visit Mia on PhotoVogue >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

CLOSE ENCOUNTERS For David Shortland, street photography is a fun and accessible form of expression, becoming a form of therapy for him. CLOSE ENCOUNTERS October 29, 2021 INTERVIEW PHOTOGRAPHY David Shortland INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From the streets of London, David Shortland has used his passion for street photography to break down the walls of anxiety that had kept him from being his most creative self. Originally from Ireland, but now based in London, Shortland found solace in the art of street photography, using it as a form of therapy to combat his anxiety issues. Drawing inspiration from some of the greats like Saul Leiter and Ernst Haas, as well as some incredible contemporary photographers that he has connected with through social media, Shortland has carved out a niche for himself in the street photography community. His story is one of transformation, of how creativity and passion can help one overcome personal obstacles and truly shine. “Street photography is such a fun and accessible form of expression. I love to shoot on slightly longer lenses and use elements of abstraction, texture and vibrant colour, and I would encourage everyone to give it a go.” IN CONVERSATION WITH DAVID SHORTLAND THE PICTORIAL LIST: David please tell us about yourself. DAVID SHORTLAND: I was born in the eighties in Northern Ireland, which was a bit of a strange and intense time and place to live! My career path has been a bit all over the place - I worked in film and TV production for a while, then graphic design, then moved to London to study human rights and ended up in the non-profit sector. So I have been living in London since 2010, and love it here despite the out of control rent prices. It is a great city for street photography. I am definitely spoilt for choice. TPL: How did you become interested in photography? What does photography mean to you? Describe your style. Where do you find your inspiration? DS: I was always broadly interested in photography and cinematography, and also in graphic design and visual arts in general. But I didn't decide to properly start learning and practicing photography until the end of 2020. It seemed like a fun lockdown hobby at the time, but it has since become a bit of an obsession. It is all about street photography for me, and I think my style tends to include some elements of abstraction or unusual composition. I am inspired by so many incredible street photographers, particularly some of the masters like Saul Leiter. Bur day to day, I find my inspiration by just walking around and seeing what is out there. TPL: What is it that you love about street photography? DS: It is about the experience of finding opportunities on the street as much as it is about the images. I love the whole experience - I find it really therapeutic, a strange mixture of relaxation and exhilaration. As someone who struggles with some anxiety issues, street photography has had a huge impact on me. I always feel great after a photo walk, and overcoming the fear of photographing people has really helped me become more confident and remove some barriers to creativity. I don't think I would get the same satisfaction from more controlled types of photography. TPL: What are some tips or advice you would give yourself if you started photography all over again? DS: It's easy to say in hindsight but I'd tell myself to dive right in and face my fears when it comes to photographing strangers. It took me a long time to overcome the fear that people would react badly. Looking back, I realise I just needed to build up enough evidence through practice that it's really unlikely to happen. I could count on one hand the number of times people have even said anything to me, never mind actually objecting or asking me to delete an image. More often than not I get a smile or a wave, and I've met some really nice people this way. The other tip I'd give myself is to get out practicing sooner and more often. I think I tried to learn too much theory early on, and once I hit the streets I realised it all goes out the window until you've built up a bit of experience and confidence with using your camera. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DS: The work of Saul Leiter has had a massive influence on me and has definitely shaped the way I approach photography, even if the images themselves turn out quite different. I love diving into the work of some of the masters: Ernst Haas, Vivian Maier, Robert Frank - even some of the incredible documentary photographers like Gordon Parks. And I've met so many incredibly talented photographers through social media - it's really inspiring to see so much beautiful work being produced by them. I always feel great after a photo walk, and overcoming the fear of photographing people has really helped me become more confident and remove some barriers to creativity. TPL: When you are out photographing - how much of it is instinctual versus planned? DS: I barely plan at all. The only thing I plan is the general area I'm heading to to start my walks (though sometimes I just jump on the tube and pick a station to get off). I'm never quite sure what I'm looking for and it always takes a little while to warm up. I still start out every time worried that I won't find anything to shoot. But I've learned it's just part of the process for me, and the instinctive eye always kicks in eventually. When I find a scene or opportunity, I like to spend time really exploring it and seeing what I can make out of it. 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? DS: I started out in the new year with a Fujifilm X-T200, which is an entry-level mirrorless camera. It served me really well but I fell in love with the X-T3 after hiring it a couple of times, so I recently upgraded. Most of the time these days I'm using a Viltrox 56m f1.4 (85mm equivalent), and I love that focal length - it's got such beautiful compression and it's perfect for picking out details. I also use a Fuji 35mm f2 (roughly 50mm equivalent) quite often. I've recently been feeling really inspired by some great wider-angle photography, so I've just ordered a used Fuji 18-55mm zoom lens to try shooting at 28mm-35mm equivalent range. I find the X-T3 really reliable and just a ton of fun to use, which helps me keep wanting to pick it up and go out to shoot. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? DS: It's all about street photography for me, and it's notoriously difficult to make a living off that. In a way I'm just very happy to keep it a hobby. I'm not a huge fan of the idea that hobbies should always be monetised where possible - I like that photography is a bit of an escape from the day-to-day, and I'd like to keep it special in that way. So who knows really - I guess I'd like to have improved in five years. Maybe one day it'd be cool to be exhibited somewhere but we will see! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DS: I've started planning my first short-run publication. I'm not sure of the format just yet but currently I'm thinking a zine, maybe around 40 pages or so. I'd like it to be a presentation of my favourite shots over this first year of street photography, so it's still a few months away. But I've begun the stage of arranging tons of little prints all over the place and trying to come up with a sequence, which my partner's delighted about of course! TPL: When I am not out photographing, I (like to)… DS: Read about culture and politics (I'm a big leftie nerd), play guitar badly, watch too many films, and eat too much veggie/vegan junk food. From the streets of London, David Shortland has used his passion for street photography to reclaim his creative voice and break down the walls of anxiety that kept him from being his most authentic self. His journey of self-discovery and healing was made possible by the inspiration and motivation of some of the greatest street photographers, both past and present. David's story serves as an inspiring reminder to us all that with passion and creativity, it is possible to overcome even the toughest obstacles. To see more of David's photography please use the links below. VIEW DAVID'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

LANDSCAPES OF SOUTH AUSTRALIA South Australian photographer Alex Frayne's new book is a comprehensive photographic homage to his big and beautiful backyard. LANDSCAPES OF SOUTH AUSTRALIA December 7, 2020 INTERVIEW PHOTOGRAPHY Alex Frayne INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link With a 8mm camera in hand, Alex Frayne has been capturing the beauty and resilience of South Australia's landscapes for over 20 years. He has documented his travels through short films, a feature film and still photography, earning much acclaim for his Adelaide Noir and Theatre of Life series and books. Now, Alex is embarking on a new journey to document the timeless and daunting beauty of his home state in his upcoming book, 'Landscapes of South Australia'. Through his honest and artistic approach, Frayne hopes to capture the rugged beauty and strength of the landscapes, as well as the marginal farming opportunities and a kind of rusted beauty that speaks of resilience and the triumph of human spirit. In this interview for The Pictorial List, Alex takes us on a journey to explore South Australia's vast and stunning terrain, giving us an insight into what it can mean to capture such beauty through his powerful images and narrative. “The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic.” IN CONVERSATION WITH ALEX FRAYNE THE PICTORIAL LIST: Alex, please tell us about yourself. How did you become interested in photography? ALEX FRAYNE: I think from the age of ten, I have had cameras around me. My mother bought me an 8mm movie camera in the early 90's and from there I moved into 35mm while studying filmmaking at Flinders University. Indeed my pedigree in film-making looms large in my photographic work, despite photography being my primary 'form'. Though born in the United Kingdom, (my Australian parents were studying there in the 70's) I have lived the majority of my life in South Australia and currently reside there. TPL: Tell us more about your project LANDSCAPES OF SOUTH AUSTRALIA. What was your motivation to make it a book? AF: The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic. To achieve that, I needed to suffuse the work in honesty and integrity. It meant that I needed to eschew all the notions and stereotypes that existed about landscape photography and South Australia. I needed to create a 'tabula rasa' so that the work could not be linked to pre-conceived notions of South Australia, or movies, or tourism or tropes that float about in my visual memory. This process of "erasure" is key to starting a new project, I feel. The new book LANDSCAPES OF SOUTH AUSTRALIA is a large, hardcover 216 page art tome which will be in shops for Christmas. I've been working on it this year with the designer Nick Phillips. Wakefield Press are publishing it, they've been very patient and loyal across this and my previous two books, 'Adelaide Noir' and 'Theatre of Life'. Michael Bollen is the boss at Wakefield Press, he works tirelessly at the helm. TPL: Your photographs tell a story and they have this special quality of light and richness of colour...all the quality of cinematography. Is storytelling actually a big part of your photography? AF: Yes colour and light and composition. These are the tools I use. Composition, specifically comes from my cinema heritage, as in the French phrase "mise-en-scene" which means "the arrangement within the frame" or the spatial geometry that exists within a frame. In terms of storytelling, yes, there is an element of that in photography, but I think it's not front-of-mind for me when shooting. For me, more important are notions of mood, tone, dreams, sadness, joy and revelation. People may ascribe a story to a photo, but that's their business. It will inevitably be different to my notion of the story. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? AF: I love to photograph ghost towns or rust-belt places. I think Woomera and Tarcoola top the list here, because of the decay that is imbedded in the beautiful and remote areas where they are located. The juxtaposition of these 20th Century places set against the wilderness that eventually saw their demise is fascinating, photographically speaking. These places were all part of various "industries." Woomera was once a Space-Race outpost with cutting-edge technology and a rocket range. It was the place for the Anglo Australian cold-war rocket testing site. Tarcoola was a gold-rush town on the Trans-Continental Railway Line. Tarcoola is actually a proper ghost town - nobody lives there, as in NOBODY. It's difficult to reach, but rewarding, photographically because you are seeing how things are, how things were, and you're enveloped by an outback landscape that has existed forever. To the south, you're in the Gawler Ranges, on Barngala land, inhabited for 60,000 years, with trees like this one, standing there against time and space. TPL: Describe your style? Do you mainly focus on landscapes although I love your series "The Overseers of Street" where you shoot street portraiture. As a photographer sometimes you can get pigeonholed into a certain genre...what are your thoughts on this. What are some elements you always try to include in your photographs? AF: I think my style is free-flowing and improvised, a bit like jazz...It's unrestrained and unencumbered and low-tech. I shoot only analogue formats, my camera gear is probably worth less than 2 grand...but of course there are expenses in film stock and processing (but I develop my own black and whites.) I shoot 120 film and 35mm. So I create my own 'music' through my art, I really don't think too hard about genres and such...if my heart desires to shoot a street portrait series, I'll go and do it. My second book was a portrait book, 'Theatre of Life'. What I don't do is ask permission from anybody to do what I do. I don't sit around wondering what friends and colleagues or powers-that-be might think. That's not jazz, that's art by committee. Elements I include in my work are whatever elements are required to yield an emotional response; and that response is more important that format, sharpness, camera brand or film emulsion. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AF: My favourite artists are the ones you've probably never heard of. The grass roots artists. The community artists, the rural artists, the art teachers in public schools, the amateurs and the older artists who've had to work in a factory their whole life and who have kept doing their hobby art. These people often they write to me asking if they can paint an image of mine to improve their technique. As far as major artists of influence I'd include Steinbeck, Miles Davis, the guitarist Allan Holdsworth and the noir-fiction writer James Ellroy. Frayne's eerily still urban landscapes have been likened in their classical framing and pervasive sense of strangeness in the familiar, to the work of Stanley Kubrick and Jeffrey Smart. - Simon Caterson, The Australian TPL: Do you have a favourite quote or saying that especially resonates with you? AF: Being a jazz nut I can't help but quote the great Miles Davis, who once wrote: "The real music is the silence and all the notes are only framing this silence." I think this applies to photography. It relates to using space, negative space and keeping the frame uncluttered. TPL: What motivates you to take photographs? Do you ever have any struggles in photography? AF: It's the same struggle that confronts most artists and that is the struggle of perpetually having to create new work that gives voice to the ideas that are always percolating away underneath the surface. The motivator can be variety of things. It can be artistic, commercial or in the best case, both. The motivator can also be boredom. If that is the case, taking photos is a sure-fire remedy. TPL: Describe what you love or hate about the camera you use? Does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AF: I only shoot film, though have used digital for some night work. I shoot with three cameras: a Yashica 6x6 124g medium format camera; a 6x9 Fuji camera also in medium format; and I shoot a Nikon FE 35mm camera for everything else. I love all these cameras in different ways, they're all film cameras, and if handled properly yield images that produce sparkling, element images that digital can never reach. Film has an emotional undercurrent in the image, it just looks better to me. For monochrome I usually shoot Kodak Tri-x, and I develop at home in a HC110 developer. My favorite lens is the 4 element Tessar 80mm lens in my Yashica. Film can also have challenges. In a story that I've told many times, I once took my rangefinder Fuji 6x9 camera up to the Riverland. I shot what I considered to be my some of my best work. Unfortunately, I'd forgotten to take the lens cap off - a mistake that can easily happen with rangefinder systems. A day later the lab called to tell me the developed slide film had "no density." That's a mistake you only make once. TPL: Have you ever been involved in the artistic world before photography? AF: Yes I've been around art since forever. I had great teachers all through school and Uni, and I am surrounded by great people in Adelaide in all the allied arts. Adelaide is the arts capital of Australia - my old Latin teacher would say..."quod erat demonstrandum," Adelaide is the Athens of the South. TPL: What are some of your goals as an artist? Are there any special future projects that you would like to let everyone know about? Where do you see yourself or hope to see yourself in five years? AF: I think a goal is to continue being curious about the world! Without that, there is no anchor. I'd like to continue collaborating with other artists as I do from time to time and to continue working on my aesthetics. I think the notion of aesthetics is really wound up in how you view the world, which is really about how you understand your own place in the universe. This could take five years or fifty! Apart from the immediate project and book LANDSCAPES OF SOUTH AUSTRALIA, I am also working on a project with theatre director Catherine Fitzgerald, it's called called DRY, and it recently received major Commission Funding. It's a play, and features some of my images as projections. It's slated to tour in October 2021...definitely worth a look, Catherine's a top notch director. TPL: "When I am not out photographing, I (like to)… AF: I'm usually on a sand-belt golf course somewhere! I play golf off a handicap of 8...and if you think photography is a tough caper, try playing golf...it's an impossible sport." In Alex's new book, he has shown us a side of Australia that is often overlooked and forgotten. His photos take us on an intimate journey through the beauty and honesty of the South Australian landscape. His photography speaks of resilience and the triumph of the human spirit. We are inspired by his work and encouraged to reflect on the beauty of his home state and the importance of preserving it for future generations. To join in the celebration of this work, we invite you to buy his book or tour Alex's website and Instagram and see the beautiful honesty of Australia for yourself. VIEW ALEX'S PORTFOLIO Buy LANDSCAPES OF SOUTH AUSTRALIA Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY | BOOK PICTORIAL STORY | BOOK January 27, 2023 TRAVELLERS & THE APPLEBY HORSE FAIR Photography and words by David Gilbert Wright Deep in the heart of the County once called Westmorland, near to the Lake District lies the small town of Appleby, nestled on the side of a valley straddling the River Eden. The Settle to Carlisle railway runs through this town, being one of the stops on it on what is known as the most scenic railway journey in England. Appleby has become known for the horse fair that first came into being in 1685. It is the biggest horse fair of its kind attracting thousands of people. So what actually happens at the fair? Travellers, Gipsy and Roma come from across the British Isles in the week preceding, a fair that is usually held in June. They travelled to Appleby using both motorised and horse drawn vehicles. Horses and ponies of all kinds, sizes and breeds arrive at the town to be exhibited, shown off and sold. The traveller community pitch up there bow-tops, motorhomes and mobile caravans in up to severn fields outside of the town boundary. They have been doing this now for centuries and as such, it has become a time when they meet and renew friendships, acquaintances and business bonds. I first became aware of the Appleby horse fair in the early 1980s quite by chance and in a totally different context. I was travelling India engaged in a different photographic project. I arrived in the desert town Jaisalmer in Rajasthan. It was the home of the Pushchair Camel Fair. It was here that a local told me of the horse fair in England. Many years passed before I got around to photographing it. I had seen other photographers’ pictures of the fair. They concentrated on the show parts like ‘The flash’, which is where those selling their horses ride them at speed up and down the hill into the town. Another well photographed scene is the horses being ridden around the River Eden. I realised that one aspect of the fair seemed to be relatively under photographed. It was the actual trading aspect. This involved getting the horses ready by washing and grooming and then doing the deal. It all takes place way out of town in the quiet roads and farm tracks near Gallows Hill and the Long Marton crossroads. Here you can find, if you are lucky, groups of mainly men sizing up the horses, haggling and eventually sealing the deals. Listening in to one deal, I heard the man suggest a horse was past it in order to keep the price down, while the other argued that it was capable of pulling a trap at speed. Each tried to position the price until a compromise was reached. Bluff and bravado were key and eventually they would spit on their palms and seal the deal with a handshake. (I was witnessing something that had not changed for centuries). Traveller, Gypsy and Romany people have for a long time been heavily involved with horses. They take them seriously and care for them greatly. However, these people have traditionally been regarded with suspicion when they arrive in a town or village. Why is that? Humanity has moved through a number of phases from its origins as hunter-gatherers. The advent of arable farming brought a need to settle and enclose the land to protect the crops. As production increased so did the need to trade surpluses. Settlements grew into market towns and the enclosure of more and more land put pressure on those still moving their livestock to give up that lifestyle. It is easy to see how the communities would regard such people as 'other' or outsiders. To protect their own way of life, settled people started to invent stories about the travellers as untrustworthy. Crimes were attributed wrongly to them. Even in recent times, we were told "Don't trust a tinker!" My grandparents were collectively grouping anyone who seemed to fit the bill of living in a caravan and moving around the country. The business of buying and selling horses was the province of men. Caring for the horses, exercising them and learning the ropes are what the young boys do prior to their rite of passage. Becoming a man to these families involves many things but one thing that is apparent is that horsemanship is in the blood. This can be seen during the fair as boys and girls come and go along the country lanes, riding the horses. Look closer and you realise that most ride 'bareback' with just a pair of reins. And the speed! What is it about the young? They seem to love speed. Galloping along with the wind in their faces, they are natural riders. Another thing you cannot help noticing is the boys sport very smart, hairstyles. Shaved around the back and sides and long on top, neatly combed and greased back. As they ride past or stand holding their horses they chat to each other, unaware of the way girls are looking at them. The fair is not just a place where people renew friendships and trade horses. It is where the emerging adolescents begin their journey into relationships and adulthood. Teenager boys would brag about how fast their horses were in the way that teenagers in our wider society talked about their cars. Teenage girls, who were just coming of age would be dressed so glamorously you might be mistaken thinking that you were at a prestigious fashion show. Their aim, I was told was “to get the attention of the of the lads” and they certainly did that! Pressure has been on the Authorities to curtail or even end the Horse Fair. However, the reasons put forward are dubious. The Police have stated that given the size of the fair with up to 10,000 visitors, the level of crime is extremely low with only 7 arrests in 2021, mostly for drunkenness. Only 29 tonnes of litter was left in 2021, much from the small businesses and all was cleared at no expense the ratepayers. Indeed, many local businesses benefit from the fair. It would be wrong to stop the Appleby Horse Fair for unsubstantiated reasons. It seems to be more a case of prejudice than actually evidence. VIEW DAVID'S 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.