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I AM A PHOTOGRAPHY ARTIST, NOT A PHOTOGRAPHER I am a Puerto Rican native and California-based photographer who, after surviving devastation caused by Hurricane Maria in 2017, relocated with my son in search of a new beginning. As I struggled to make a life for us, I had to make the difficult decision to part with two of my most cherished cameras in order to make ends meet. But with my newfound job in California, and in 2019, I was finally able to purchase a new high-end camera and pick up the hobby that I had so dearly missed. And then the pandemic hit. Like much of the world, I was stuck in lockdown with no movement or action to capture. Nevertheless, I persevered and kept shooting as much as I could, even going as far as to photograph people in order to familiarize myself with my new gear. Little did I know that it would eventually lead me to creating some of my most memorable work thus far: my first street photography book, "79 Photographs by Sostre," and the launch of "Avenue," a street photography magazine. It’s a periodical and space for those fellow street photographers out there just like me. JUAN SOSTRE I AM A PHOTOGRAPHY ARTIST, NOT A PHOTOGRAPHER I am a Puerto Rican native and California-based photographer who, after surviving devastation caused by Hurricane Maria in 2017, relocated with my son in search of a new beginning. As I struggled to make a life for us, I had to make the difficult decision to part with two of my most cherished cameras in order to make ends meet. But with my newfound job in California, and in 2019, I was finally able to purchase a new high-end camera and pick up the hobby that I had so dearly missed. And then the pandemic hit. Like much of the world, I was stuck in lockdown with no movement or action to capture. Nevertheless, I persevered and kept shooting as much as I could, even going as far as to photograph people in order to familiarize myself with my new gear. Little did I know that it would eventually lead me to creating some of my most memorable work thus far: my first street photography book, "79 Photographs by Sostre," and the launch of "Avenue," a street photography magazine. It’s a periodical and space for those fellow street photographers out there just like me. LOCATION California UNITED STATES CAMERA/S Leica Q2 and Ricoh GRIII WEBSITE https://www.sostreshots.com/ @SOSTRE.SHOTS FEATURES // Crossing The Avenue

DAYTIME ST. PAULI St. Pauli is incredibly multifaceted and is especially known for its nightlife. In this project, Mirko Karsch documents it's daytime life. DAYTIME ST. PAULI September 30, 2022 INTERVIEW PHOTOGRAPHY Mirko Karsch INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE St. Pauli is incredibly multifaceted and is especially known for its nightlife. You can find here an immense number of bars, pubs, restaurants and clubs. But St. Pauli is also known for its red light district and there are problems with violent disputes from time to time. The district is also interesting because it is located directly on one of the largest seaports in the world, and this fact still characterises what St. Pauli is today. But what does it look like during the day when the night owls have disappeared? Are the pubs empty then? Who lives in St.Pauli? What does the true soul of the district look like? Sometimes life in St. Pauli seems like a cycle to me: In the evening the tourists come, at night the Hamburg nighthawks, and when the trash is pushed aside in the morning, the neighborhood belongs to its residents again until the next evening. Since the 90s, I have been on the streets of St. Pauli again and again. Deviating from the usual customs, I liked to stay here even during the day. Looking back, I'm not sure it was wise to spend so much time in pinball arcades, but this place has an inexplicable attraction for me. Endless possibilities - even during the day. The people I meet during the day, young and old, have an alternative lifestyle, others seem to have none at all. There are pubs and bars that never seemed to close. Some play hard techno sound, others shanties. In the Summer there are open-air festivals and art projects. There is a huge event area here where folk fairs take place and a large soccer stadium for a professional team is located right next door. And above all this watches a bunker from the Second World War. But this is also where normal life takes place. Children are taken to school, postmen deliver the mail, suppliers deliver to pubs and the laundry is washed in laundromats. St. Pauli is also home to two churches, who care about the well-being of the people of St. Pauli. St. Joseph-Kirche is located in one of the noisiest and wildest streets of the district, which represents a bizarre contrast. The other church, St. Pauli Kirche, is located between the entertainment district and the port. The park-like property is open to all residents. They like to use it - even just to play a game of ball and enjoy a cold beer. How much change is healthy? Of course, gentrification has not stopped at St. Pauli and many cherished things have disappeared. In order to understand this, you have to know that historically St. Pauli was a part of the city where mainly the working class and low-income groups settled. This is still noticeable today, but due to the aforementioned displacement through gentrification, fewer and fewer of the resident population can afford to live in St. Pauli. But the changes on st. Pauli also show themselves in other ways. The local beer "Astra" is no longer brewed here and the commercial sprees seem to be scaling ever new heights, especially in the evenings. On the other hand, people were already grumbling about the new entertainment formats in the 90s. Change is part of the big city. Not only in Hamburg. And the fact that a district is developing is not necessarily negative. An example of this is the public park 'Park Fiction', where young people especially like to spend their free time. Here is played a lot of basketball or it is the lawn just enjoy the view of the harbour. What has remained are many beautiful things, such as the harbor panorama, which I will probably never get tired of. St. Pauli is still the place that attracts many young people. New things are constantly being created. The district never seems to sleep. It is a lot of fun to stroll through St. Pauli during the day. Everything is unstressed and the observations are quite different than at night. “Since the 90s, I have been on the streets of St. Pauli again and again. Deviating from the usual customs, I liked to stay here even during the day. Looking back, I'm not sure it was wise to spend so much time in pinball arcades, but this place has an inexplicable attraction for me.” IN CONVERSATION WITH MIRKO KARSCH From the point of view of Berlin photographer Mirko Karsch, street photography is a contribution to the debate on the documentation of contemporary forms of life in the psychological, ecological and architectural sense. The urban city is both a stage and an object of social conflict, and ultimately a result of social processes. We had the pleasure of interviewing Mirko for The Pictorial List, observing and seeing the potential in whatever has been put in front of him. Lucky enough to photograph regionally and worldwide Mirko shares with you his journey and inspiration. TPL: Mirko please tell us about yourself. How does where you are from influence your work? MK: I originally come from Hamburg and grew up there sheltered. That was quickly too narrow for me and was the reason why I looked for things that deviated from what I found at home. Later I moved to Frankfurt and Madrid. Since a few years ago I live in Berlin. So I've been around a lot in Europe. The interest in new and different things, is of course also reflected in the photography. I like to try out new things. TPL: What drew you to photography? What was that moment that you decided to pick up a camera? Talk to us about your photographic experience in New York in the 1990s and how that mapped your photographic journey to who you are today. MK: I got my first camera as a confirmation gift. I think a camera was a kind of status symbol back then, like a cell phone is today. I took my first serious photos in New York without giving it much thought. I simply photographed what I liked in automatic mode. That was film photography, of course, and it wasn't until much later in Hamburg that I realized that I liked both the pictures and the style incredibly well. And so I began to consciously pursue street photography. TPL: How and why did this project first manifest for you? What was the inspiration? MK: I have known St. Pauli since the 90s and have always been attracted to the district. Even then I was often on the road during the day in St. Pauli and was fascinated by the people who live and work there and the many opportunities they have. I don't think many people understand that St. Pauli is of course also a completely normal place where children go to school, people buy bread and the churches invite people to prayer on Sundays. In addition, I was naturally interested in the contrasts with the "night shift". Actually, St. Pauli exists twice. It wasn't until much later that I came up with the idea of documenting everything photographically. Out of gallery TPL: Talk to us about your method of working and experimentation during the project. What was a daily itinerary for you? Is the project ongoing? MK: I know St. Pauli very well, but I did research beforehand and looked for spots that I found relevant and interesting. Otherwise, I was the typical flaneur, wandering the streets looking for suitable locations. I plan to keep this project going for a while, as I am sure that St. Pauli has much more to offer. There is no final date. TPL: Finally, what do you want people to take away from this project? What do you want them to be asking themselves or to think about? MK: I would like to encourage people to observe things a little more intensively and to look behind the scenes. It is also incredibly important to talk to the local people. So doors open and you get a feeling for the people and their way of thinking and living. I plan to keep this project going for a while, as I am sure that St. Pauli has much more to offer. There is no final date. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MK: I consider Harvey Stein to be an excellent photographer. I find his long-term series, which span up to 50 years, very inspiring. Ian Howorth is in my eyes an excellent exponent of the cinematic photography genre. Finally, I appreciate Alec Soth for his great documentary work. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? MK: I would love to spend a day with Alec Soth. He has published excellent photography books in the last few years and I really appreciate his photographic style. I am sure I can learn a lot from him. TPL: What is it that you love most about street photography? MK: Street photography is diverse and has more to offer than the decisive moment. It has a documentary character about it and shows everyday life. Street photos preserve the present for future generations. In that sense, street photos have a lot in common with wine: they get better and better over the years. Out of gallery TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? Does the equipment you use help you in achieving your vision in your photography? What is on your wishlist? MK: My first camera was the Yashica AF 200 and I'm glad I still have it and use it from time to time. It's amazing how much image quality is in such old cameras. Nowadays I mainly use the Nikon D7500 as an all-round camera and the Lumix LX100 II for street photography. The Nikon allows me to use all angles thanks to the F-mount. In addition, the image resolutions are excellent even at night. With the Lumix, I can go where I would stand out or be disturbed with the big Nikon. Since I'm completely satisfied, I'm not planning a new purchase at the moment. TPL: What are some of your goals as a photographer? What direction do you think you will take your photography? Where do you hope to see yourself in five years? MK: I have noticed that I am moving more and more away from pure street photography towards documentary photography. This fits very well with my next project: A documentary about the Berlin skateboard scene. Maybe there will be an exhibition in 5 years (or sooner). TPL: “When I am not out photographing, I (like to)… MK: Spend time with the kids. And skateboarding of course!” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. Out of gallery

ARCHITECTURALLY COMPOSED Gino Ricardo is fascinated by pattern, finding comfort in walking around alone in a city photographing architecture. ARCHITECTURALLY COMPOSED August 12, 2020 INTERVIEW PHOTOGRAPHY Gino Ricardo INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Gino Ricardo is a motion graphic designer with a passion for pattern and a curiosity for exploration. But it wasn't until June 2019 that he decided to take his camera to work with him on a daily basis and explore the city during his lunch breaks. What started as one hour lunch break sessions quickly blossomed into weekend excursions, documenting the architecture and street photography of places unknown to him. As he ventured around the cities he visited, Gino found comfort in being alone and taking pictures of the exquisite buildings he encountered. It was then that he realized that his camera didn't have to just collect dust on the shelf; it could be used to capture the beauty of the world. Thus began Gino's journey of discovering the wonders of the world through his lens. “I started photography about a year ago. In September 2018 I bought a “serious” camera (Panasonic GH5 ) to film my three week trip to South Africa. The camera was bought with the intention to film my South Africa adventure and future trips and on occasion take pictures. After the trip I felt like it was a waste of money that the camera would just sit at home on a shelf collecting dust. At one point in 2019 I started to take my camera to work and use my one hour lunch break to take pictures. Before I knew it photography became a bit of an obsession.” IN CONVERSATION WITH GINO RICARDO THE PICTORIAL LIST: The way you see architecture is not the usual way people would see it - graphic and composed precision. How do you find the composition when you are searching for that shot? What are some of the elements you try to include to make a good architecture image? And what do you do post-process? GINO RICARDO: Thank you very much for the compliment! When shooting architecture I always look for lines, patterns, details, textures, reflections and shadows in a building. Sometimes I see a building and know what I want to shoot and how to get the result I want. Other times it comes down to trial and error. I try different compositions and angles, from long to medium to close ups. Trying to find a way to make the work click. A lot of times I visit the same place multiple times and take the same shot in different circumstances or discover a new vantage point. I like to keep my images simple. I do some post-processing. It begins with setting a building straight and cropping. Usually I bump up the contrast and make the shadows darker. Sometimes I dodge and burn some elements in my images, and on occasion I Photoshop little imperfections out of a frame. For instance a spec of light that is drawing attention in a scene where I don't want the attention to go. But usually I try avoiding this and keeping the image as authentic as possible. TPL: You also shoot street photography and include them among your architecture photos in your Instagram gallery. Do you do anything differently to how you shoot and compose your architecture shots? GR: In street photography I mostly look for light and shadows. The difference between street and architecture is that for street I am solely relying on sunlight. So when it is raining you won't see me taking any street photos - unless you have beautiful reflections. For architecture I photograph all the time, it doesn’t matter if it rains or the sky is grey. I still need to learn a lot about street photography and keep developing this. To be honest, street photography is a side hustle. Mostly I go out to get my architecture shots and then switch to street afterwards or when I see something interesting happening. The difference between street and architecture is the pace. You have to be on your feet and think fast. A moment is gone before you know it. In that moment you have to be able to take the picture or try another time. A lot of times I see good light and wait a bit for something interesting to happen. This can be a minute or ten. Architecture is slower paced. I can walk around a building and observe it and put more thought into what I want or what is interesting. TPL: Where is your favourite place to photograph? GR: For now my favourite place to shoot is in Rotterdam, Netherlands. I am always surprised by the new places that I see and am looking forward to new spots to discover. TPL: Has your style of photographing changed since you first started? GR: Yes definitely, I started with photos from my holiday and then started going to the city to practice my shooting. Shooting street and architecture. During this period I noticed that I like black and white architecture photography more. I also started to shoot more often with zoom lenses to get those detailed shots/close ups. First I used my 45-200mm zoom and after a while my girlfriend's 75-300mm lens. Also my images became a lot darker. The best images aren’t at the end of an expensive flight. They are just around the corner from your house if you are willing to take a walk and really see. - Sean Tucker TPL: Do you think equipment is important for achieving your vision in your photography? What would you say to someone else just starting out? GR: I think that the camera is just a tool, nothing more nothing less. The typewriter never wrote a book, but the writer did. The same applies for a photographer. Having said that I really like the system that I have, the portability of the body and lenses are just great in terms of weight. When hitting the streets I have two lenses with me and that is it. Making it very easy for me to travel with. For someone who is just starting out I would advise them not to look to much at the specs of a camera but just start shooting. These days technology is so advanced that any camera you buy as a beginner will be a good camera. Use the time when you are beginning to discover what you like and develop yourself. Keep in mind that your needs can change over time as you develop as a photographer. If you can’t afford a camera in the beginning start with your phone. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? GR: I definitely look up to photographers like Alan Schaller and Sean Tucker, Sebastiao Salgado, Fan Ho to name a few. I think that I got heavily inspired by Sean and Alan. I really like the philosophical side of Sean’s work and ethics and the super dark moody tones and diversity of Alan's work. I also get inspired a lot by other photographers whom I discovered through Instagram. I also follow artists like Lindsay Adler, Platon, Maarten Rots, and David Yarrow. Their work is so different from my own. I think that it is a must to keep an eye out for other artists who have absolutely nothing to do with your own work. Giving you a fresh perspective. TPL: Have you ever been involved in the artistic world before photography? GR: Yes, I am a 2D animator/motion graphics designer. TPL: Are there any special projects you are currently working on? GR: Yes, I recently created my first book and made a video about it. I would love to go back out and travel to London, Paris and discovering some other countries. But due to COVID-19 this is pretty difficult. Time will tell when this is possible again but in the meantime there is lots to discover in my own town and country. And in the upcoming weeks I am going to create a short film. TPL: If I wasn't photographing what would I be doing?... GR: Animating and designing for animation. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

STREET THEATRE Now with a camera as her paint brush, Alexandra Avlonitis captures the endlessly fascinating drama unfolding in the New York public sphere. STREET THEATRE August 17, 2020 INTERVIEW PHOTOGRAPHY Alexandra Avlonitis INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the ever-changing world of art, there are innovators determined to push boundaries and explore new forms of creativity. Alexandra Avlonitis is one such artist who, after years of dedicating herself to fine art painting, decided to try something new. In 2015, she embarked on an unexpected journey to the world of photography, using her skills in color, light, and composition to create stunning art. As a native New Yorker, Alexandra was instantly drawn to the genre of street photography, captivated by the lively energy of the city and its various cultures. She was determined to capture the drama of public life that was unfolding before her eyes. Abandoning her paint brush in favor of a camera, she has since dedicated herself to mastering the art of photography. Whether inside the studio or out, the artistic tool box was the same. As a native New Yorker, the genre of street photography was such a natural fit for her. She will always be captivated by the hum and buzz of the street, the energy of unremitting commerce, the mash-up of peoples and different cultures. This interview explores Alexandra Avlonitis' unconventional journey from painting to photography, as well as her approach to capturing the exciting energy of the city streets. Readers will gain insight into how she was able to use her existing artistic knowledge to create beautiful and unique photographs, highlighting her incredible talent for capturing moments and creating art. “I am not a landscape photographer or a portrait photographer. I am a street photographer. Moreover, I live in the crush of humanity that is NYC. If I want to make strong and compelling work I have to put myself out there - physically and creatively. I have to overcome my timidity daily, go forth with confidence and get close.” IN CONVERSATION WITH ALEXANDRA AVLONITIS THE PICTORIAL LIST: Alexandra please tell us about yourself. You once were a fine art painter...what was that moment/s that made you transition to street photography? Do you still paint? AA: After years of painting, I found myself experiencing a creative block. A friend told me about a photography class she was taking at the International Center of Photography here in NYC. I had been photographing with my cell phone for some time, often while traveling, and thought it was time to learn how to use a proper camera. So I put the paint brush down five years ago and took my first class at ICP. Photography allowed me to integrate my knowledge of color, light and composition in a whole new medium. I have not painted since. Not that I don’t miss it sometimes, but for me, this new endeavor demands full concentration and practice. TPL: Where do you find your inspiration? AA: I am drawn to urban settings with a mash-up of people and cultures. Vibrant light and color, the essential elements of painting, set the stage. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? AA: Essential in my photography is the human element captured in quotidian scenes: finding that which connects all of us on some fundamental level. TPL: Your photographs have this beautiful candid intimacy about them. Often you are focusing very closely on the subjects. What is your process when you are out shooting on the street? AA: Like most street photographers I try to be unobtrusive on the street. As a petite woman I find I have an advantage that allows me to blend in, often unnoticed. And while I try to fill the frame with the action on the street, I am often drawn to particular individuals. If, at the moment I take a candid photograph, eye contact is made, all the better. I feel it brings emotional depth to the image. (Once, in a workshop, a famous street photographer said that if eye contact is made with the subject, it is not a valid street photo. I humbly beg to differ.) TPL: Who are your favourite artists and photographers? AA: The classic street photographers top my list: Garry Winogrand, Helen Levitt, Vivian Maier, Joel Meyerowitz, Alex Webb and others. And with my painting background I am forever dazzled by Saul Leiter’s colors, layers, and composition. Photography has one leg in painting and one leg in life, but the two things must be combined. - Brassai TPL: Do you prefer to shoot alone or with friends? AA: I enjoy the company of my photography compatriots but most often I prefer to shoot alone. TPL: Where is your favourite place to shoot? AA: I am fortunate to live in NYC, a great street photography city. When traveling I seek out similarly dense and lively spaces. A recent trip to northern India was especially intoxicating: a street photographer’s paradise. TPL: Has your style of shooting changed since you first started? AA: When I started out, my ICP instructor advised that I try a 16mm (24mm equivalent) lens which would force me to get close to my subjects; and it did indeed. Over time, though, I gravitated to the more traditional 23mm (35mm equivalent) lens. But in this era of the global pandemic, in order to keep a safe distance (sadly) from my subjects, I have used a 18-55mm (27-84mm equivalent) lens. Playing around with that has been fun. Will see where I land when life is back to normal. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AA: Since photography is a fairly recent pursuit for me, I feel like I’ve got so much yet to do: study the work of preeminent photographers from the past and present, work at my craft, and do good work that finds a place in the world. TPL: “When I am not out photographing, I (like to)... AA: Hard to say. As a photographer you are always photographing. With or without a camera you are seeing, composing, and snapping away. If only in your head." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. NATURE KNOWS NO PAUSE May 31, 2024 INTERVIEW PHOTOGRAPHY Ann Petruckevitch INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Ann Petruckevitch is a photographer with an insatiable curiosity and a relentless pursuit of image interpretation through diverse techniques. With Diplomas in Photography from Brighton City College and Art and Design from The Arts University, Bournemouth, Ann’s artistic journey is guided by her quest to observe and shape visual contexts in unique and ethereal ways. Ann’s approach to photography transcends conventional boundaries, as she seamlessly navigates between camera-less, film, and digital media. Her goal is not merely to capture images but to observe and form a distinct frame of the visual situation, in either vibrant color or timeless black and white. With a keen eye for detail, her observations explore the subtleties of the environment and their relationship to humanity. Ann visually interprets offbeat street scenes, conceptual observations of nature, as well as intimate studies of human life. Through her lens, Ann invites viewers to delve into the unseen details and contemplate the intricate connections between subjects and their surroundings. In Ann’s hands, photography becomes a powerful tool for advocacy and introspection. In her ongoing project, “Nature Knows No Pause,” Ann draws inspiration from Johann Wolfgang von Goethe's profound quote. “Nature knows no pause in progress and development and attaches her curse on all inaction.” Ann captures the resilience of nature amidst the challenges of climate change. Each photograph serves as a reflection on humanity’s relationship with the natural world, and her use of one-word titles prompts viewers to engage in thoughtful reflection, inviting them to ponder the beauty and fragility of the world around them. Her work serves as a poignant reminder that, in the face of adversity, nature continues to evolve and thrive, echoing the timeless wisdom of Goethe’s words. As we immerse ourselves in Ann Petruckevitch’s captivating imagery, we are reminded of the profound interconnectedness of all living things. She beckons us to join her on a journey of discovery and enlightenment, where the beauty of nature’s eternal pulse is celebrated and revered. “Nature forms an integral part of one’s life, it is all around us, by definition it embodies the physicality of being part of this world. For me a deeper understanding of nature’s fragility and its ability to survive mirrors the vulnerability we feel every day as humans, respectively. We need each other to breathe and feel a sense of belonging and contentment. Being in nature commits oneself to an emotional state, whether it purveys a sense of wellbeing or fear. When I’m in nature I don't need to seek it out; it immerses me.” IN CONVERSATION WITH ANN PETRUCKEVITCH THE PICTORIAL LIST: Hello Ann, thank you for sharing your inspiring photography with us. Welcome to The Pictorial List! Tell our readers about yourself. What initially sparked your interest in photography, and how has your artistic journey evolved over time? ANN PETRUCKEVITCH: My first exposure to photography was probably my mother’s Kodak box brownie when I was a child. At the time I think I was just fascinated by the shape, it’s wind on mechanism and the empty chamber inside. Additionally, I’ve always had a deep committed interest in cinema and its escapism and vision fueled my simmering creativity from a very early age. However, my real commitment to photography came much later, my traditional schooling choosing academic achievement over creativity, having had a mathematical career as a medical statistician until I retired in 2019. During my adult life I’ve always had a camera, but it wasn’t until I was in my 50s that I started to want to understand the technical side of it, literally getting my hands dirty in a photographic darkroom. I started with attending some local workshops and courses and my interest developed from thereon, taking time out of employment to do an intensive course at the Arts University in Bournemouth in 2010. The pure joy of an image emerging in a developer tray will stay with me always and the wealth of available photographic processes gives me a great sense of connection between my thoughts, via what I see, and the captured imagery. TPL: Johann Wolfgang Von Goethe's quote serves as the inspiration for your project. What does this quote mean to you personally, and how does it influence your artistic vision? ANN: Johann Wolfgang Von Goethe made a number of quotes about nature and was forthright about our connection with and ultimate dependence on it. ‘Nature knows no pause….’ exemplified for me the environmental chaos we find ourselves in now and in using it to describe my project concentrated my thoughts on visualizing the small changes nature undergoes in sustaining its seasonal existence. If we allow ourselves time to embrace the subtleties of nature, we have a chance to be at one with it so to speak, replacing destruction with restoration and responsibility. I’m hoping that the images I’ve presented give viewers the sincere opportunity to reflect and reform moving forward. TPL: Your work often delves into the unseen details of the environment. How do you approach capturing these subtle nuances in your photographs? ANN: Personally, I have a good memory for detail, and I think this is reflected in my photography. As I said, my love of cinematic visuals has informed my own visual development. When I’m out and about in nature or anywhere else for that matter, I’m always looking up, down, sideways and behind, absorbed in the moment. I take time and I go back to places, approaching my image capture more artistically considering the emotional impact that hopefully translates into the photograph taken, perhaps avoiding objectifying the subject matter, respectively. "Frozen" © Ann Petruckevitch "BlueGreen" © Ann Petruckevitch "Minutiae" © Ann Petruckevitch "Koyo" © Ann Petruckevitch "Streaming" © Ann Petruckevitch "Reflection I" © Ann Petruckevitch "Rooted" © Ann Petruckevitch "Heartache" © Ann Petruckevitch "Lost" © Ann Petruckevitch "Fragile" © Ann Petruckevitch TPL: How do you balance the technical aspects of photography with the emotional or conceptual elements when creating your artwork? ANN: I would say that the technical aspects of my photography are a little intuitive, in the sense that I don’t dwell too much on what photography tools I carry with me. I very rarely use flash, filters, carry additional lenses or use a tripod. The emotional and conceptual intentions are always imperative to the works that I attempt to create and perhaps my confidence in ‘taking the shot’ stems from my heart and mind and not the technology to do so. Sometimes and just sometimes fortuitously you capture the true nuance of a scene, it’s the joy of change. TPL: What role do you see photography playing in raising awareness about environmental issues such as climate change? What impact do you hope your photography will have on individuals’ perceptions and actions towards environmental conservation? ANN: Any visual interpretation that examines the impact of environmental issues has got to be a worthwhile interaction. I fully appreciate the lengths that some environmental organizations and image makers go to ensure true stories are told again and again. I hope that my photography in this arena starts a conversation, critical appraisal or positive feedback, after all it’s only my interpretation and should be open to forthright discussion. The fact that someone ponders an image is a job done in my books. Sometimes and just sometimes fortuitously you capture the true nuance of a scene, it’s the joy of change. TPL: Can you describe a particularly challenging or rewarding moment you've encountered during a photography project? ANN: Honestly, I can count on one hand the projects I have developed and been interested in since retiring from my real job. However, I have to say that a road trip along the A1 Princes Highway in NSW and Victoria in Australia after one of the worst bushfires at the end of 2019 and beginning of 2020 that impacted 24 million or, so hectares of national parkland was particularly poignant. Challenging on the one hand to see and then capture images that truly represented the devastation, and rewarding, to arrive in the town of Mallacoota to see how its residents had come together to rebuild homes, businesses and in doing so their livelihoods, respectively. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? ANN: I have to say the photographer Ernst Haas has had a considerable impact on my ways of seeing, he created some groundbreaking imagery for the time he was active. Alongside him, the artist Edward Hopper has also informed my visual take on landscapes and urban settings, and I could not forget the works of the film maker Terence Mallick, ‘Days of Heaven’ epitomizes for me visual sincerity and thought working alongside the cinematographer Nestor Almendros. There’s a real pattern emerging with all these artists very similar in their use of natural light. Finally, a shout out to Denise Felkin, a Brighton visual artist and photographer who over a weekend course many years ago facilitated my point and shoot Olympus Camedia digital camera! It’s not the kit, it's what you see! TPL: What is on the horizon for Ann Petruckevitch? Are there any new projects you would like to share with us? ANN: I take a lot of single images when I’m out and about but more recently have been concentrating on the detail obtained using macro photography. With summer coming soon and the sun hopefully more evident in the sky I may go back to a more camera-less approach to image making or perhaps I’ll get out my 127 Box Brownie and take a risk on what I see and capture. “Nature knows no pause…” is an ongoing project, and additionally, a project entitled “Eternal” which explores metaphorically the passage we move through as life progresses and remnants of our past are indelibly engraved in ours and our kinfolk's minds, respectively. "Autumnal" © Ann Petruckevitch "Impressions" © Ann Petruckevitch "Fragment" © Ann Petruckevitch "Engulfed" © Ann Petruckevitch "Droplets" © Ann Petruckevitch "Remnant" © Ann Petruckevitch "Transition" © Ann Petruckevitch "Hidden" © Ann Petruckevitch "Reflection II" © Ann Petruckevitch "Petrified" © Ann Petruckevitch TPL: What is in your camera bag, is your equipment an integral part of your art practice? Is there anything on your Wishlist? ANN: Not a lot, I don’t feel that my camera bag is empty, but I also don’t feel that it being full is an integral part of my artistic intentions. Presently, I’m using a Nikon DSLR camera with a 70 to 300 mm telephoto lens but that can change depending on the view. I also have a Canon full frame DSLR, and quite a few film cameras. TPL: What role do you believe experimentation plays in the creative process, and how do you incorporate it into your photography? How do you approach editing and post-processing in your photography, and how does it contribute to the final message or aesthetic of your work? ANN: Because I use a variety of photographic techniques such as camera-less approaches to image making there is a considerable experimental risk associated with it and using film to some extent is the same, especially when using a Holga medium format camera! Of course, using a DSLR gives you more access to getting the shot right, but I try not to seek perfection but a time limited observation. I don’t use a lot of editing and post processing, usually a more subjective approach in managing an image apart from when I'm creating composites. TPL: When you are not creating art through your photography, what else could we find Ann doing? ANN: I love walking obviously, I run to be solitary, and of course cinema and the arts in general are integral to my wellbeing and development. A work in progress methinks! Thank you. PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I began studying photography in 2015 after years as a fine art painter. Schooled in the essential elements of painting - color, light and composition - it was not a difficult transition. Whether inside the studio or out, the artistic tool box was the same. As a native New Yorker, the genre of street photography was a natural fit. I had always been captivated by the hum and buzz of the street; the energy of unremitting commerce; the mash-up of peoples and cultures. With a camera in place of a paint brush, I could capture the endlessly fascinating drama unfolding in the public sphere. ALEXANDRA AVLONITIS I began studying photography in 2015 after years as a fine art painter. Schooled in the essential elements of painting - color, light and composition - it was not a difficult transition. Whether inside the studio or out, the artistic tool box was the same. As a native New Yorker, the genre of street photography was a natural fit. I had always been captivated by the hum and buzz of the street; the energy of unremitting commerce; the mash-up of peoples and cultures. With a camera in place of a paint brush, I could capture the endlessly fascinating drama unfolding in the public sphere. LOCATION Manhattan UNITED STATES CAMERA/S Fuji XT2 & XT3 WEBSITE http://www.alexandraavlonitis.com @ALEXANDRAAVLONITIS FEATURES // Street Theatre

I am an autodidact living in The Netherlands. A few years ago I started photography using the Fujifilm X system seeking to capture urban scenes to improve my basic skills and learn the art of photography. Out of curiosity and a bit of nostalgia for my father in his young years, I did have an analog Canon and used a projector to see the film results. My Tokyo trip ignited my passion. Then I switched to the Fujifilm X system. I am still learning. JOSÉ LUIS BLACH LEYENDA I am an autodidact living in The Netherlands. A few years ago I started photography using the Fujifilm X system seeking to capture urban scenes to improve my basic skills and learn the art of photography. Out of curiosity and a bit of nostalgia for my father in his young years, I did have an analog Canon and used a projector to see the film results. My Tokyo trip ignited my passion. Then I switched to the Fujifilm X system. I am still learning. LOCATION The Hague NETHERLANDS CAMERA/S Fujifilm X - pro 1 @BLACH_LEYENDA.J.L FEATURES // Netherlands Nostalgia

I am drawn to light, colour and sights that move me. The feelings that I try to communicate in my captures are melancholy and a certain kind of moodiness, but also feelings of awe, facing the wonders we come across in life. My subjects vary, it can be landscapes, cityscapes, still-life, and people. ANNA MARCHIOLI I am drawn to light, colour and sights that move me. The feelings that I try to communicate in my captures are melancholy and a certain kind of moodiness, but also feelings of awe, facing the wonders we come across in life. My subjects vary, it can be landscapes, cityscapes, still-life, and people. LOCATION Clamart FRANCE CAMERA/S Lumix F2200 @AK_MOODYSHOTS FEATURES // The Wonders of Everyday Life

ECLIPSE From an aesthetic point of view, Fanny Genoux seeks the abstraction and geometry that shadow and colour can create in the city. ECLIPSE October 5, 2020 INTERVIEW PHOTOGRAPHY Fanny Genoux INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Fanny Genoux is a teacher but photography is now an integral part of her life. She is interested in photography as a whole and has a varied approach, even though as Fanny tells us, she is most fond of street photography. Shadows, lines and abstract forms is what she seeks in her very constructed graphic compositions. This is the photography language that speaks to her. Using the environment as a setting to compose her stories integrating those small details that are synonymous to her style. The human presence is not necessarily direct - it can be a silhouette, a shadow, a material - lost, anonymous in the geometry drawn by the city. We all know the power of light and shadow, the way they can shape a place, changing it right before our eyes. This is what Fanny has sought to capture with her series, 'Eclipse'. A stunning collection of photographs taken in the beautiful city of Nice, where the light is bright and intense. Through her lens, Fanny has sought to bring to life the impressive contrasts between light and shadow, colour and geometry, the bright canyons created by the shadows of its narrow alleys and its colorful facades. But there's more to this series than just stunning visuals. Fanny has explored a much deeper concept in her work; something that speaks of transition, of anonymity and of individuality. Capturing the silhouettes of passers-by as they emerge from the shadows only to disappear back into them again. An exploration of how the shadows can erase identity, taking away the peculiarities and singularities of these anonymous figures as they pass through the light of the city. So join us as we take a closer look at Fanny's remarkable series, 'Eclipse'. As we explore the aesthetic, symbolic and conceptual elements that make this body of work so powerful and captivating. “I have a deep interest in mankind and his effects on his environment. He is always at the center of my photographs, whether directly or not, by the prints, the marks he leaves, by his constructions, his passage. It can be a silhouette, a shadow or a trace that gets lost, anonymous in the geometry drawn by the cities, the material or the color, one influencing the other. I’m moved by shadows, semi-darkness, lines and abstract shapes.” IN CONVERSATION WITH FANNY GENOUX THE PICTORIAL LIST: Fanny please tell us about yourself. When did you start getting interested in photography? FANNY GENOUX: I am a teacher and a mom of three. I have been interested in art in general for a long time and have always enjoyed making and creating things. Photography has been a pastime for a long time, but paradoxically, it is since I have children - and therefore much less time!- that my art has become more intensive and structured...and above all vital! Lately, I got more interested in street photography, but I think I have a peculiar approach to it. In the process of photography, all the stages from the shooting to the developing make me happy. Wandering, the first fundamental step in photography, is a moment that I particularly enjoy, even if I often come home empty-handed. I also like this part of "magic" and the fact that we will always come up with surprises, good or bad, when we discover what we have shot. TPL: Do you have a favourite quote that resonates with you the most? FG: I like this quote from Matt Stuart “Buy a good pair of comfortable shoes, always wear your camera around your neck.” I don't know how many times have I blamed myself for not having my camera with me! Or how many times have I had blisters on my feet because my shoes were not suited to my long photographic wanderings...For that matter, I finally got myself a lighter and smaller device that I always carry with me. TPL: Where do you find your inspiration? FG: Almost everywhere, looking around me: in the streets, the shapes, the light, the mundanity and the poetry of everyday life. TPL: Where is your favorite place to photograph? FG: Everywhere I go, but more particularly the streets of cities and of my city in particular: Nice. TPL: Has your style of photographing changed since you first started? FG: Yes and no. Yes, because when I started, I only photographed empty places, exclusively in black and white. Today, I really like color and I always look for human presence, directly or not. My eye is drawn to the same things though: my images are always very composed, constructed and contrasted. I like the way a photo can enhance reality and reveal poetry where it’s not expected. I also like to build my images. TPL: Do you prefer to photograph alone or with friends? FG: I photograph alone. When I photograph, I am totally absorbed and I can stay still and spend hours at the same place. It is not very much fun to be around me on those occasions! TPL: What equipment do you prefer to use? Do you think equipment is important in achieving your vision in your photography? Do you have a preferred lens/focal length? FG: I now know my camera well and it helps me to take my photos: I quickly know how to react, but I don’t master the technique very well. I only use the basic settings (ISO, speed, aperture). I think the important thing is above all what we see and how we photograph it, regardless of the device. I have a Canon EOS 7D, I usually use it with a 17-55mm lens. I also like the 50mm very much, but this camera is heavy and bulky so I recently got a smaller one that is lighter and more discreet. It’s a Sony RX100, and I am currently getting to know it! TPL: Who are your favourite artists and photographers? FG: I admire many photographers whose works are however very different from Koudelka to Martin Parr, Franco Fontana, Denis Brihat or Bernard Plossu. I am currently partial to the work of Saul Leiter. I also like to discover the work of the photographers from the Magnum agency. Painters such as Hopper or Paul Klee influence me as well. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? FG: I love books, and I am deeply interested in publishing. I have published 3 small books consisting of some of my photo series. I realized that I took great pleasure in this work: thinking about the layout, choosing the fonts, the paper, the shape of the book...it's something that I really like. I have the project of making another book, precisely on the Eclipse series. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? FG: Above all, I shoot for my own pleasure and I don’t have the ambition to live off photography one day. I hope it will remain a pleasure. Of course, I am happy when I can show my work and even more if the feedbacks are positive! TPL: “When I am not out photographing, I (like to)… FG: Work on my images!” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

JOURNEY OF FREEDOM After two years of stagnation and a few lockdowns due to the Covid pandemic, Gabi Ben Avraham went to the United States for a family visit in September. JOURNEY OF FREEDOM December 10, 2021 INTERVIEW PHOTOGRAPHY Gabi Ben Avraham INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For ardent street photographers, the world around them is like a feature film: a never ending story with frames that are just waiting to be captured. Gabi Ben Avraham, a passionate street photographer, is no exception. Through the lens of his camera, he finds beauty in the overlooked and mundane. His images are thoughtfully composed with each element carefully chosen to create a dialogue of its own - be it with color, shape or light. The Covid pandemic brought with it a period of stagnation and lockdowns, making Gabi’s recent trip to the United States even more special. His series JOURNEY OF FREEDOM speaks volumes of the joy he found in being granted the freedom to explore a new place and capture it in his own way. The images depict the forgotten people in urban surroundings, their fragile outlines and the beauty of their daily lives which are often crushed by the hustle and bustle of the city. In this interview, we take a look at Gabi Ben Avraham and his journey of street photography. Join us as we explore how his camera has become an integral part of him, and get a glimpse into his journey of freedom. “After two years of stagnation and a few lockdowns due to covid-19, I went to the USA on a family visit. I felt like a bird who finally flew out of its cage! The series depicts that wonderful feeling of freedom and expresses in a surrealistic manner the emotions of the people who went through covid-19, each of them in his own way.” IN CONVERSATION WITH GABI BEN AVRAHAM THE PICTORIAL LIST: Gabi please tell us about yourself. How did you become interested in photography? GABI BEN AVRAHAM: I am a 61 year old Israeli photographer. I was born and still live in Tel Aviv and work in a software company. After flirting with an initial fascination with photography and film cameras in the 1980s, I went on to pursue a career as an IT manager and put my love for the still image aside. Fortunately, my interest never disappeared. While the passion lay dormant for decades, all it took was the gift of a camera from my wife to awaken my inclination towards photography again. TPL: What does street photography mean to you? Describe your style. GBA: The Street is not a Studio. Sometimes I stand and wait for things to converge – a cyclist, a dancer, a child – moving along. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. Everywhere I go I take it with me thinking ‘maybe today will be my lucky day and I will take the photo of my life’. Via the camera lens I am constantly looking around me, searching for that ‘decisive’ moment that will never return, unless I catch it. When pushing the button, I try to make some sense, restore order to the chaotic scheme of things in the composition, tell the story behind the scene and frame a surrealistic moment. The components 'speak' with each other in a special dialogue, either by color, shape, or light. Capturing the elusive, special moment after which things will never be the same and making it eternal – that is my goal. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? GBA: When I visited Cuba, I was invited to a home and after a moment found myself surrounded by pigs. Maybe the word 'surprising'; is better to express what I felt. At first I was alarmed but eventually the whole situation was amusing. I like to observe people in religious ceremonies and festivals. I wait for the right surrealistic moment which will take things out of context and make them special. TPL: When you are out photographing - how much of it is instinctual versus planned? GBA: Both. I choose the background and wait for things to emerge. This is a long process. At a single click, I try to fill the insignificance around me with significance and create a private and intimate hallucination in order to share it with the viewer. Even though the moment fades, it is burnt in the memory of the viewer. Like a fisherman who goes to his daily work without knowing what he will catch, I take my camera and dive into the streets without knowing what will happen five minutes later. It is an adventure. When I click I try to see the surreal and to sort things out of their everyday meaning and their usual context. I have my favorite places and I never come with the same photos. It is always different: the people, the light and shadows, the atmosphere. TPL: What are some tips or advice you would give yourself if you started street photography all over again? GBA: Try to build your own style. Exercise a lot with the camera. Find your own Master and be open to critics. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GBA: I am inspired especially by Henri Cartier Bresson as well as Sebastião Salgado for their black and white images and by Alex Webb, Harry Gruyaert and Nikos Economopoulos for their fantastic work with surreal composition and great colors, and by many more talented photographers. 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? GBA: In general I believe that the equipment is just a tool so it doesn't really matter. As for myself I am using Fuji XT-3 usually with 18 mm (27mm) prime lens and sometimes Fuji 23mm (35mm) prime lens, because the camera is small, light and does not draw attention. I enjoy shooting with wide lenses which enable me to build a full story in the frame. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GBA: I want to continue travelling in the world and look for new locations to shoot. Let's hope that covid-19 will end soon so we can move freely around the world and I can do some serious projects, for example India. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? GBA: I want to have more exhibitions and work on a book which will depict my work. TPL: When I am not out photographing, I (like to)… GBA: Have some drinks with my friends, watch TV, go through some photographic books and listen to music. In short I like to enjoy life. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I first started photography around six years ago with a DSLR camera. But I only got seriously into this medium when I entered the world of film photography late 2017, by getting my first film camera the Canon AE1. Since then, I've let my passion guide me in this whole journey, mostly doing street photography. I chose a series of black and white images to share within the community of photographers. When I take black and white images, I like to play with the contrast, leading lines and isolated subject. I want to tell a story with my pictures and love to transmit emotions through my images. The series that I am presenting is the illustration of what I like to do, playing with the scenery, contrast and light. And just like how many photographers inspires me, I hope I can transmit emotions and inspire other people. Even more since that Covid-19 outbreak we need to all stay strong in this great photography community. KAREN MIKI ROHEE I first started photography around six years ago with a DSLR camera. But I only got seriously into this medium when I entered the world of film photography late 2017, by getting my first film camera the Canon AE1. Since then, I've let my passion guide me in this whole journey, mostly doing street photography. I chose a series of black and white images to share within the community of photographers. When I take black and white images, I like to play with the contrast, leading lines and isolated subject. I want to tell a story with my pictures and love to transmit emotions through my images. The series that I am presenting is the illustration of what I like to do, playing with the scenery, contrast and light. And just like how many photographers inspires me, I hope I can transmit emotions and inspire other people. Even more since that Covid-19 outbreak we need to all stay strong in this great photography community. LOCATION Provence-Alpes-Côte d'Azur FRANCE CAMERA/S Canon AE1 WEBSITE https://kmanalog.darkroom.tech/ @KM_ANALOG FEATURES // Discovering an Analog World

Celebrating together the book launch of VOLUME ONE – NEW YORK! The photographers have captured the very essence of New York. THE PICTORIAL LIST VOLUME ONE - NEW YORK BOOK LAUNCH EVENT 10.19.2024 explore the event There may be no better way to communicate what we have done than through photography. Can you believe it?! We finally did it! It was with great excitement and pride that we got to celebrate together the book launch of VOLUME ONE – NEW YORK! When we officially started The Pictorial List in January 2020, it was a passion project born from our collective love of photography. We wanted to create something meaningful for photographers — a global, inclusive community that would inspire and support visual storytellers from all walks of life. This beautiful 276-page hardcover volume is more than just a book. It’s the embodiment of our mission to honor the past while propelling the future of contemporary photography. The photographers in this book have captured the very essence of New York — its vibrancy, its contradictions, its soul. They are all a testament to the power of photography to reveal, to provoke, and to inspire. Thank you to every one of you. You guys were our guinea pigs in this journey, and we are so thankful for your patience, graciousness, and the help you extended to us as we found our way. Your trust and collaboration made this publication possible, and we couldn’t have done it without your understanding and willingness to grow alongside us. Your work, your stories, and your passion are at the heart of VOLUME ONE – NEW YORK, and we are deeply grateful for your contributions. Thank you to Karen Ghostlaw Pomarico, my remarkable co-author, whose dedication, vision, and expertise was always instrumental in bringing this book to life. Karen’s passion for the project and her keen insight has enriched every page, adding depth and warmth to our story. I am deeply grateful for her hard work, creativity, and partnership throughout this journey. Thank you, Karen, for your invaluable contributions and unwavering commitment to making this book truly special. Here’s to many more creative adventures, new stories, and all the fun along the way! Special thanks to Meryl Meisler for her wonderful personal foreword and for welcoming our managing director and co-author, Karen Ghostlaw Pomarico, and our editor, Bill Lacey, into her and Patti’s home, giving us an intimate glimpse into Meryl’s creative process. Your generosity and openness have truly enriched this project, and we are so grateful for your contribution. A heartfelt appreciation goes out to the incredible Pictorial team — Karen Ghostlaw Pomarico, Karin Svadlenak Gomez, Bill Lacey, Ibi Gowon and John St. — who dedicate their time and energy every day. Their unwavering dedication is invaluable. The collective efforts in writing, editing, and curating daily have transformed The Pictorial List into a vibrant and creative platform. You write, edit, and curate daily, and it’s because of your hard work that The Pictorial List has become such a vibrant and creative platform. An immense and abundant thank you goes out to Karen Ghostlaw Pomarico and her husband, Michael Pomarico, whose dedication and tireless work behind the scenes brought this event to life. Their warmth and generosity were endless, hosting me with such care, treating me to wonderful experiences, and making me feel right at home. Beyond the unforgettable event, they shared the magic of New York City and the spectacular autumn colors of upstate New York with me — moments that will forever hold a special place in my heart. We would also like to express our gratitude to the wonderful Newburgh community. You have been so gracious in donating what we saw on the day. A very special thank you goes to Ted Doering and Shirley Noto, who generously allowed us to use this magnificent old bank to hold our event. Your kindness and support mean the world to us, and we couldn’t have asked for a more stunning venue to showcase this book. A big thank you to Michelangelo for filling the day with such beautiful music, and to Jessica for her warm and attentive hospitality. Your contributions made the event truly special! For over two centuries, the question has been asked: “Is photography truly an art?” At The Pictorial List, we believe the answer is a resounding yes. This volume stands as proof that photography is a vital expression of self — a medium capable of capturing both the extraordinary and the everyday in a way no other art form can. Thank you all for being part of this journey, and thank you for helping us celebrate the launch of VOLUME ONE – NEW YORK. We hope this book inspires you as much as it has inspired us. Here’s to the beauty, complexity, and endless possibilities of photography. Thank you 💖 Melanie Meggs Founder and Creative Director THE PICTORIAL LIST VOLUME ONE- NEW YORK BUY NOW