I am a fine art photographer, editor, and cultural manager. Born and raised in La Rioja, Spain, my career has led me to live in places like Los Angeles, Tokyo, Vientiane, Ibiza, or Madrid. In the past, I have developed my career in graphic design. However, photography was always one of my main interests, so in 2014 I started to fully devote myself to this “obsession”. I involve the subjects of my photography in the process of the work. My goal is to reorder experience rather than simply document it and bend appearances to match my subjective narrative priorities. The resulting images are caught in a tension between the staged story and the testimonial record, imbued with fantasy as much as reality, unreliable and open-ended, thus reflecting the instability of our times. When I take a photograph, I close the shot on the subject by getting very close and isolating the details. This approach results in those details acquiring an autonomous presence. They are no longer just identifying the subject, but rather they become "beings" in their own right. This process involves separating the image from its subject, so we no longer recognize a specific person, but instead see a fragment that serves me, as the author, to convey what I want to narrate and tell. Furthermore, when there is no subject to direct and channel our gaze, there is a great amount of detail that captures our attention, allowing for a wider range of possible interpretations, readings, and meanings. In this way, seeing becomes an active process, a shared experience between the author and the audience. My photography projects may last for years, with constant contact with the depicted subjects. This working process gives the pictures a natural intimacy that denies the audience the mere observer’s safe distance, all the while portraying a more complex and diverse representation of the world. My work has been widely published in specialized media and exhibited in both galleries and public institutions. I also co-coordinate the Photobook Club Madrid actively promoting the spread of photography culture through different events. In addition, I edit and design photo books and catalogues for fellow photographers. JUAN BARTE I am a fine art photographer, editor, and cultural manager. Born and raised in La Rioja, Spain, my career has led me to live in places like Los Angeles, Tokyo, Vientiane, Ibiza, or Madrid. In the past, I have developed my career in graphic design. However, photography was always one of my main interests, so in 2014 I started to fully devote myself to this “obsession”. I involve the subjects of my photography in the process of the work. My goal is to reorder experience rather than simply document it and bend appearances to match my subjective narrative priorities. The resulting images are caught in a tension between the staged story and the testimonial record, imbued with fantasy as much as reality, unreliable and open-ended, thus reflecting the instability of our times. When I take a photograph, I close the shot on the subject by getting very close and isolating the details. This approach results in those details acquiring an autonomous presence. They are no longer just identifying the subject, but rather they become "beings" in their own right. This process involves separating the image from its subject, so we no longer recognize a specific person, but instead see a fragment that serves me, as the author, to convey what I want to narrate and tell. Furthermore, when there is no subject to direct and channel our gaze, there is a great amount of detail that captures our attention, allowing for a wider range of possible interpretations, readings, and meanings. In this way, seeing becomes an active process, a shared experience between the author and the audience. My photography projects may last for years, with constant contact with the depicted subjects. This working process gives the pictures a natural intimacy that denies the audience the mere observer’s safe distance, all the while portraying a more complex and diverse representation of the world. My work has been widely published in specialized media and exhibited in both galleries and public institutions. I also co-coordinate the Photobook Club Madrid actively promoting the spread of photography culture through different events. In addition, I edit and design photo books and catalogues for fellow photographers. LOCATION Madrid SPAIN CAMERA/S Nikon WEBSITE https://juanbarte.com/projects/ @JUAN.BARTE FEATURES // Freedom Tastes Of Reality

Started capturing light in 1984. Believes that rust never sleeps, and that we should keep adapting, learning and evolving. Believes in the redeeming power of beauty. Believes that goddesses, muses and nymphs exist to guide the artist in finding a way out of the chaos of his internal labyrinth. Believes that artists should not be defined by the tools they use, but by their work and actions. Believes the artist’s creative fire is only kept alive when they immerse fearlessly into their unconscious. Believes that artists never retire, unless it is for a short while to a house in the woods. Has a double life. By day he lends his energy and knowledge to a training center. By night he drinks from the cup of creation and becomes an alchemist. Works in photography, both digital and analog, video, calligraphy and music. MÁRIO PIRES Started capturing light in 1984. Believes that rust never sleeps, and that we should keep adapting, learning and evolving. Believes in the redeeming power of beauty. Believes that goddesses, muses and nymphs exist to guide the artist in finding a way out of the chaos of his internal labyrinth. Believes that artists should not be defined by the tools they use, but by their work and actions. Believes the artist’s creative fire is only kept alive when they immerse fearlessly into their unconscious. Believes that artists never retire, unless it is for a short while to a house in the woods. Has a double life. By day he lends his energy and knowledge to a training center. By night he drinks from the cup of creation and becomes an alchemist. Works in photography, both digital and analog, video, calligraphy and music. LOCATION Lisbon PORTUGAL CAMERA/S iPhone8 Plus WEBSITE https://mariopires.pt/ @RETORTA FEATURES // Flora Arcana

READERS Mildred Alpern proves it is never too late to learn photography. At 89 years of age, Mildred continues to expand her photographic horizons. READERS October 26, 2020 INTERVIEW PHOTOGRAPHY Mildred Alpern INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Mildred Alpern grew up in Boston, Massachusetts. After a long career as a high school Advanced Placement European History teacher she is currently most interested in writing, editorial work, and photography. She found her passion in photography when the artist Christos set up the saffron "Gates" in Central Park in 2005. Starting with a four pixel Point and Shoot digital camera, she progressed to interchangeable lenses when Olympus introduced the mirrorless E-M5 in 2012. At the time she was in her early eighties, which goes to prove that it is never the wrong time for a new passion. Mildred scoured Central Park and Riverside Park for subject matter, while taking a class here and there to learn new techniques. She has had a number of her photos selected for curated exhibitions nationally and internationally, and she has had photo essays published in her local online newspaper, The West Side Rag. Mildred shares her photo series READERS, which stems from her fascination with the reader as a solitary and silent figure who is transported into a private world through the mental process of deciphering elaborate markings on a physical surface. Now aged 89, Mildred continues to expand her photographic horizons. “I was born and grew up in Boston, graduating from Girls’ Latin School and Boston University in 1953. I then moved to New York and worked as an economic researcher before marrying my Brooklyn-born husband. With two small children in tow, I earned a Masters in Teaching Social Studies at Columbia University’s Teachers College and began a thirty-five year teaching and writing career, with a prominent role in the development of the Advanced Placement European History curriculum and test. I now live in New York City and in Copake, New York, alternating between the two places. A four pixel Canon Elph Powershot was a 2004 Christmas gift from my son. It started me to take pictures.” IN CONVERSATION WITH MILDRED ALPERN THE PICTORIAL LIST: Mildred, you said you found a passion in photography when the Christo set up the saffron "Gates" in Central Park in 2005. Tell us more about that exhibition. What was it that was so inspiring about it and made you want to get more into photography? MILDRED ALPERN: Living on the Upper West Side, I trekked the few blocks to Central Park, where Christo and Jeanne-Claude were installing "The Gates" exhibit. The view of massive saffron fabric blowing in the breeze was magical under blue skies and during February gloomy snow days. Having retired, I had time to make the rounds each morning in different areas of the park. The landscape reminded me of Brueghel’s winter scenes with figures in varying activities. TPL: You told us that you are a former high school and college history teacher. Did you ever use photography as a teaching aid? Has your educational background influenced in some way the kinds of pictures you take? MA: In my European history classes, I had integrated fine art as a reflection of the time period in which the artist lived. Influenced by John Berger’s Ways of Seeing, I attempted to show how art of the past had influenced contemporary sensibilities in Western standards of beauty and gender roles. An atypical view of woman’s strength and power was Artemisia Gentileschi’s Judith in her rendition of slaying Holofernes. How different was her interpretation from those of Botticelli, Caravaggio, and Klimt, among others. TPL: Do you have a favourite quote or saying that especially resonates with you? MA: In this time of Covid-19, my favorite expression, “everything turns on a dime,” is particularly apt. From one minute to the next, the unanticipated and unexpected may occur. Defenses are fragile, yet I like to think that we soldier on with good purpose. TPL: Where do you find your inspiration? And do you have a favourite place to shoot? In general, what do you want to express through your photography? MA: I enjoy experimentation and the serendipitous, photographing the same scene with different lenses and focal lengths. I want to make pictures that I can bring home from my “shopping expedition” and download in my computer. Then comes the thrill of seeing them emerge full screen, to be processed and shared on occasion. In urban New York, people, buildings, and city streets capture my attention along with Central Park and Riverside Park happenings. In rural Copake, the changing seasons evoke the photographs of Eliot Porter, my favorite natural world photographer whose intimate nature scenes inspire me. But I am also inspired by the photographs and artistic dedication of Paul Kessel, Russ Rowland, and Susan Rosenberg Jones, contemporary friends on social media. I also have an interest in infrared photography, inspired by Nevada Wier . There is no end. Passions are driving forces that make life meaningful and never boring. I find pleasure in taking pictures and in looking at mine and others’. I hope that my images contain the unintended detail for Roland Barthes’ punctum effect (Camera Lucida), engaging the viewer to pause and reflect - the brim of a hat, a tattoo, a wicker chair... TPL: The project you shared with us is about readers. How did you come up with the idea for it? MA: The project stems from my fascination with the reader as a solitary and silent figure who is transported into a private world through the mental process of deciphering elaborate markings on a physical surface. Readers assumes varied poses in their temporary state of inactivity and equilibrium. We cannot know the thoughts of readers engaged in their activity. Even their poses do not give them away. Nor do the varied settings in which they pursue reading. It is best neither to disturb nor startle a reader, but to respect the private bubble in which they reside. I enjoy experimentation and the serendipitous, photographing the same scene with different lenses and focal lengths. 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? MA: The subjects of my photography are far and wide ranging. Armed with a couple of micro four-thirds Olympus cameras, Em5 and Em5 Mark II, and a variety of lenses, prime and zoom, which I alternate, for the fun of it, I set out by foot and in car, driven by my husband, to record whatever I fancy. TPL: You did not grow up in an Internet-based age. How do you feel about the various social media photo platforms that have made sharing photography with a large audience so easy? What advantages and disadvantages do you see in this? MA: I was teaching in the late 80’s when Apple computers became available and justified the effort to tackle the new learning curve. The ease of writing and editing was a great benefit in my work. As for the plethora of social media platforms, I find being selective, limiting my exposure to a narrow few prevents all day consumption of web sites. “Nothing in excess.” TPL: Have you ever been involved in the artistic world before photography? MA: The only involvement that I have had in the artistic community was briefly through my daughter, Merry Alpern, whose Dirty Windows book and photograph series gained wide recognition in the 1990s. Dark room photography, her area, did not interest me. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? MA: In “Rural Byways,” a project I am currently working on in the foothills of the Berkshire Mountains, I hope to discover how a turn in a country road can disclose an unexpected sight in a mostly remote landscape. In five years, I hope to be still around. At 89, one cannot be sure, even though I may feel fine today. It would be nice to have a gallery showing in a Covid free world just for the fun of it. TPL: How does being a mature woman help or hinder your street photography? MA: Certainly being a mature woman has advantages. I am non-threatening and I know that. I try to be unobtrusive, but if I want a portrait shot, I ask permission, approaching in a friendly way, and respect a person’s wish not to be photographed, which is seldom. I also email willing subjects their photos if they wish. In the readers’ series, all photographs were taken without the knowledge of the subjects. TPL: “When I am not out photographing, I (like to)… MA: I like to read classic and contemporary novels and be with my family, also photographing them. From her humble start with a four pixel point and shoot digital camera, Mildred Alpern has continued to experiment and explore with photography. Mildred is truly an example of how it is never too late to explore something new and find success. If you’re inspired by Mildred’s story and her passion for photography, connect with Mildred online and learn more about her work, her passion, and her incredible journey. VIEW MILDRED'S PORTFOLIO Mildred'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 Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE 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.

EXPLORING OLD DELHI The streets of Old Delhi provide countless motifs for Abhishek Singh's photographic exploration, finding unique situations in everyday life. EXPLORING OLD DELHI October 19, 2020 INTERVIEW PHOTOGRAPHY Abhishek Singh INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Abhishek Singh has a big passion for photography. He was born and raised in India, in the small town of Gorakhpur in Uttar Pradesh, and now lives in Delhi. Trained as an electronics and communication engineer, he became interested in digital cameras during his university years. His drive towards photography became so urgent that he even sold his scooter to get himself a digital camera, and he joined a professional photography group to pursue his passion. The streets of Old Delhi provide countless motifs for his photographic exploration. Abhishek's goal is to show people's working lives and daily routines, finding unique situations in everyday life. Their livelihood, how they survive, and their emotion and based on their daily life, Abhishek's want to include some unique elements which we can get on the spot. He shared with us his vibrant images of life in his home country. I will not leave until you break (जबतक तोडेंगे नहीं तबतक छोडेगें नही ) Majhi - the Mountain Man “I was born in a small town of Gorakhpur in Uttar Pradesh in a farmer family. My strings are directly attached with the mud of my village. I did not have a silver spoon when I came to this life on earth, but I have the immense will to soar on the highest of the peaks in the field of photography.” IN CONVERSATION WITH ABHISHEK SINGH THE PICTORIAL LIST: Abhishek, please tell us about how you became interested in photography. ABHISHEK SINGH: I am highly grateful to my parents for bringing me up and providing me with good moral and formal education against all the extreme conditions in the family. I have done my graduation in B.Tech (Electronics & Communication), and technical knowledge pushed me towards the world of digital cameras. The spark towards digital photography was ignited then, but I was not able to fully justify my passion because of family liabilities. As my family is not very well off financially, I had to earn my bread and butter, but the spark of photography which was kindling in my heart kept me pushing towards this wonderful world of my interest and passion. Due to a shortage of funds I was shooting with an analogue camera, and it was killing me from inside. I knew I had to buy a good DSLR camera to fulfil my dreams. This left me sleepless for several nights. I had to sell my scooter to buy a digital camera. From January 2016 onward I joined a professional group to pursue my dreams. After immense endeavours and by the grace of God and blessings of my parents I was able to climb towards my goal. I was married to Raj Laxmi in 2017, my beloved wife who has supported me in every step and every bit, through thick and thin to achieve my goal in photography. She is playing a very significant and concrete solid role to pursue my dreams in photojournalism. We both are trying really hard to take my dreams to touch the success sky. TPL: Tell us a bit more about photographing on the streets of Delhi: What are some of your most influential moments that you have captured? How has COVID-19 affected your city, the people and your photography? AS: Old Delhi (Chandani Chowk) is my favourite place, where I see people doing their work. They are early birds here. On the street of Old Delhi we can get photographs related to our daily life. There are so many vegetable, spice, flower vendors there. That area is very unique for photography because their buildings are two hundred years old, it has a heritage status. For me one of the most important images I captured there was the relationship between a dog and a man. He was feeding his ill dog as if he were feeding his son. It shows that still there is humanity in our India among people. Covid-19 has affected many things. People were laid off from their jobs due to this, it started financial problems in their lives. So many people have left here because they didn't have anything to survive on, so they had to move from here. It has also affected photography, we are not able to go outside, and everything is online here. Now we are not able to focus on practice, we are putting the focus on theory, but practice is more important than theory. But one thing is also good in this pandemic situation: It has impacted positively on our environment becoming cleaner. TPL: Where do you find your inspiration? AS: I find my inspiration in my family, they believe in me. I get inspiration from their happiness. TPL: Do you prefer to shoot alone or with friends? AS: Most of the time I prefer to shoot alone. TPL: Who are your favourite artists and photographers? AS: My technical field ignited the spark in me towards the world of digital photography, but it would be a crime if I do not mention the name of Sir Sudharak Olwe, a Mumbai based documentary photographer, who turned my world upside down and kindled the real fire inside my heart to excel in the field of photojournalism. Sir Olwe was awarded Padma Shri, one of India’s highest civilian honours for his social work in 2016. It gives me massive motivation to use my knowledge and talent towards the social benefits of society, my village, my town, my state and my country through photojournalism. Raising and eradicating society's evil issues through my photojournalism gives me the thrust to continue towards my goal. If I am able to do my best in this regard, it will be my greatest happiness. Self-respect and internal satisfaction are the golden keys for my internal happiness. I want to show their livelihood, how they survive, and their emotion and based on their daily life. TPL: Has your style of shooting changed since you first started? AS: When I was a neophyte I would click anything, like birds, flowers, toys, light trails, long exposures, but now I have started working on a series . I want to work on objective photography. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AS: In photography the subject is the most important, you have to think about your subject from the core of your heart. I also feel in the same way. The deep bonding of a photographer towards the subject is the key to success. If I take up a subject, first I feel it in my heart and mind then I start to act on it. I am the happiest man when I am out photographing. Becoming known for social work in my society with the help of photography and photojournalism is my ultimate goal. 50mm and 18mm focal length are the most suitable for me. TPL: Have you ever been involved in the artistic world before photography? AS: Yes I have been involved in the artistic world before photography. Most of my friends are artists. I have visited exhibitions with them. With one of my friends, Mr. Shashikant, who is a printmaker, I have visited so many exhibitions. Another friend, Mr. Kaushal, is a painter. I am fond of theatre. In theatre artists play live. I love the theatre world, including plays and musical theatre, for example "Charan Das Chor" (चरण दास चोर) , "Tender of Taj Mahal" (ताज महल का टेण्डर). TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: Currently I am working on a series about river rejuvenation, recycling of waste, life in the biggest garbage dumping yard of India, but I also spare some time to take a few good shots here and there. I have an assignment from the government, but I can’t share those photographs yet before it is finished. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AS: Being an artist is never a rational choice, no one can decide to be an artist, every real artistic action doesn’t employ awareness or will. All those who continuously need to remind their audience that they are artists by using their art to compensate for a lack of social skills or to boost their ego are just exhibitionists, shopkeepers of their narcissism and myth maniacs. It is not only about the work of the artist, but to live your trade, not only make a living from it. But to succeed and to live well as a paid artist. I see myself as successful and learning new skills that will benefit and help me achieve my career goal. I am eager to experience new challenges and excited to invest 5 years’ time specialising in a career , I find it extremely interesting and motivating. TPL: “When I am not out photographing, I (like to)… AS: When I don’t spend time on photography I like to spend time with my family, and I visit theatres to see plays.” The streets of Old Delhi provide countless motifs for Abhishek's photographic exploration, finding unique situations in everyday life. Follow Abhishek on Instagram to follow his journey. VIEW ABHISHEK'S PORTFOLIO 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. 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PICTORIAL STORY THE CONDUCTORS A LOVE STORY: Robert Sherman shines a light on the unsung heroes of the New York MTA Subway — the train conductors whose steady hands and focused minds guide the city through its daily rush. With care and precision, he captures their quiet devotion to a job that is both routine and vital. December 3, 2021 PICTORIAL STORY photography ROBERT SHERMAN story ROBERT SHERMAN introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Every day, millions of New Yorkers rely on the MTA subway system to get where they’re going. But behind the rumble of trains and the routine of the daily commute are the steady hands and sharp eyes of subway conductors — professionals who keep the city moving with little recognition. New York based photographer, musician, and composer Robert Sherman turns his lens toward these unsung heroes in a compelling photographic series that brings their world into focus. A Chicago native and current columnist and social media manager for the Fire Island News , Sherman has long had a passion for visual storytelling. In this project, he captures the quiet resilience, focus, and humanity of those working in the shadows of the city’s vast underground network. With a keen eye for overlooked details, Sherman invites viewers to see conductors not just as part of the system, but as individuals — navigating the rhythm, pressure, and poetry of life underground. New York City MTA SUBWAY, EVERYDAY: A few years ago, as I exited the middle car on one particularly relaxed subway ride, I noticed a conductor open her window and stick her arm out and point up to the ceiling for what seemed like no particular reason. I thought to myself, what a lovely gesture of reverence and reverie! But it turns out it was neither, as I discovered by asking the next one, I saw later that week. It is actually a required action taken by the middleman conductor at every subway stop. Its purpose is twofold: it shows the roaming MTA platform inspectors that the conductors are alert and paying attention to their job, and, more importantly, they are pointing at a (previously unnoticed by me) zebra striped sign set in the exact center of each platform. This indicates to the watchful eyes of the conductor up front that it is safe to open the doors. This, in turn, protects the passengers from stepping out directly onto the tracks had the train not been aligned properly at the stop. It is a beautiful example of man and machine working in harmony. There may be the technology to do all of this automatically, yet it remains the chosen way to keep this charmingly human engagement alive and well. The zebra signs first appeared as general markers between every two cars around WW1, and the gesture itself originated in Japan, where it was being used for the same purpose, although more elaborately - including voice signals, and the turning of a complex set of switches. It is referred to there as shisa kanko . The MTA adopted and mandated this ritualistic action in the late 1990s after a number of incidents where passengers fell onto the tracks. And the new system has helped quite a bit in preventing that from happening ever since. At any rate, I still choose to see it as simply a beautiful gesture, one that connects me to the perhaps previously unacknowledged, hardworking individuals who help as many as six million riders arrive safely to their destinations each and every day. So, I set out to make a series of portraits in celebration of these conductors. We see them all the time, but perhaps we forget to look. With these images I hope that maybe we can now fall just a little bit in love with them, as well. I know I have. © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman © Robert Sherman Through this series, Robert Sherman offers a rare and intimate look at the often-overlooked world of New York City subway conductors. His photographs go beyond the routine grind of daily transit, revealing quiet moments of resilience, the human stories behind the uniforms, and the rich diversity of lives touched by the MTA. In spotlighting these essential workers, Robert reminds us of the dedication and dignity behind a job that keeps the city moving. Next time you step onto a train, consider a simple gesture — acknowledge the conductor. A thank you can go a long way. view Robert's portfolio Read an interview with Robert >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. 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I am a Franco-British photographer currently living near Reims in France. I started out photography back in the early 80’s after reading French literature at University. In my early days, I mostly tried to capture street type pictures, in London, where I was living at the time. I was hugely influenced by some of the top documentary photographers at the time such as Don McCullin, W. Eugene Smith, Elliot Erwitt, Bruce Davidson, Henri Cartier-Bresson, and spent my time wandering the streets looking for pictures. I quickly realised if I was to work in photography, I would have to move into more general photojournalism. Thus, from the mid 1980’s, I started working for a number of newspapers and agencies in London, before joining Reuters News Agency as a staff photographer in Paris in 1987. Here I covered many local and international stories for over 15 years. Since leaving Reuters, I have started to shoot my own long-term projects, documenting the region in France where I live in black and white. GARETH WATKINS I am a Franco-British photographer currently living near Reims in France. I started out photography back in the early 80’s after reading French literature at University. In my early days, I mostly tried to capture street type pictures, in London, where I was living at the time. I was hugely influenced by some of the top documentary photographers at the time such as Don McCullin, W. Eugene Smith, Elliot Erwitt, Bruce Davidson, Henri Cartier-Bresson, and spent my time wandering the streets looking for pictures. I quickly realised if I was to work in photography, I would have to move into more general photojournalism. Thus, from the mid 1980’s, I started working for a number of newspapers and agencies in London, before joining Reuters News Agency as a staff photographer in Paris in 1987. Here I covered many local and international stories for over 15 years. Since leaving Reuters, I have started to shoot my own long-term projects, documenting the region in France where I live in black and white. LOCATION FRANCE CAMERA/S Fuji Xpro 1 & 2 WEBSITE http://www.gwenllyn.com/ @GARETHWATKINS02 FEATURES // Les Francais

I am a documentary photographer from a small town in Alabama. My marriage to a full time working musician and my love of life, adventure and outdoors is often depicted with my personal works. Photography has been a huge part of my life for well over 25 years now, so I consider it more about a visual journey than a professional destination. The vast majority of my work is in black and white as I connect it more to a nostalgic and timeless look over my color images. This probably has a lot to do with how I learned how to shoot with black and white film printed and developed in a dark room. So I credit my style from my earlier, formative years as a student of photography. My work is predominantly unplanned, spontaneous and observant. I never want to control or direct individuals with my documentary work as this takes away the individual's authentic moment and identity. LEIGH ANN EDMONDS I am a documentary photographer from a small town in Alabama. My marriage to a full time working musician and my love of life, adventure and outdoors is often depicted with my personal works. Photography has been a huge part of my life for well over 25 years now, so I consider it more about a visual journey than a professional destination. The vast majority of my work is in black and white as I connect it more to a nostalgic and timeless look over my color images. This probably has a lot to do with how I learned how to shoot with black and white film printed and developed in a dark room. So I credit my style from my earlier, formative years as a student of photography. My work is predominantly unplanned, spontaneous and observant. I never want to control or direct individuals with my documentary work as this takes away the individual's authentic moment and identity. LOCATION Alabama UNITED STATES CAMERA/S Nikon N70 (Musicians), Nikon D700 and D800 WEBSITE http://www.leighannphotography.com/ @LEIGHANN_PHOTO FEATURES // Turning Negatives Into Positives The Lumber Yard Finding Community

PICTORIAL STORY DEBUTANTE June 12, 2020 PICTORIAL STORY Photography by Jo Kalinowski Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Jo Kalinowski is an Australian photographer, whose work is inspired by a connection between her British urban roots and her current life in rural Victoria. Over the past few years Jo has been exploring man-made and natural landscapes through minimalist style fine art photography, and more recently Jo has been working on social documentary photography projects. She has a knack for candidly capturing events and people in a documentary, but with her very personal style. I discovered Jo's beautifully tender photo reportage series about a Debutante Ball, and I interviewed her to find out more about the way this tradition is celebrated in Australia. Jo Kalinowski never thought of attending a Debutante ball, it just was not her thing. But when her daughter Alex ran into the house, telling her excitedly “Mum I have found a partner for the Debutante! What if I never get married? It may be my only white dress opportunity!”, a new photographic project idea was born. Jo decided to explore the Debutante journey by documenting her daughter's experience photographically. She wanted to capture and create images that Alex could keep for a lifetime: photographs that were elegant, flattering, and that celebrated her night. At the time, Jo was relatively new to documentary photography and did not have a specific plan how to go about it. “I chose to improvise, trusting my intuition that the images I shoot will connect to each other. But it was not until sometime later, looking back at the work, that I became inspired and was able to see that I captured a story I am compelled to share,” she says. THE ORIGINS OF 'COMING OUT' The tradition of Debutante balls originated with the way aristocratic or upper-class families have historically 'presented' young women (the 'debutante' - from French, literally the 'novice') to polite society, once they had reached 'maturity' for entering the marriage market at a formal 'debut' or a Debutante ball. This type of formal 'coming out' was a way of putting the young women on display for eligible bachelors in hopes of finding a suitable match for them within a select circle. In the United Kingdom girls from aristocratic or upper-class families used to be 'launched into society' at the age of 17 or 18 through a formal introduction to the monarch, making their debut at a royal ball, wearing strictly prescribed white gowns with gloves and veils, like brides. Queen Elizabeth II finally terminated the formal court presentations of debutantes in 1957. AN OLD TRADITION IN MODERN TIMES One would think that such an old-fashioned tradition as the Debutante ball has long been relegated to the annals of history, but it is actually still going strong, though in a modified format and with not quite the same meaning attached. After all, no reasonable parent would want to marry off their daughter at the age of 17 these days. In the United Kingdom, although the formal social season ended eventually, today there are still 'socialite' events being held in the early spring and summer. An extensive ball season is also on every winter in my home city, Vienna, and although it has nothing to do with 'introducing' girls to society, many young women enjoy the experience of opening a ball in a white gown, dancing a set of choreographed figures with their white-gloved partners for an audience of eager spectators. A variation on the tradition also exists in several Latin American countries. Young girls (quinceañeras) take part in a Festival de Debutantes, or a 'Quince Años' party upon their fifteenth birthday. Although societies have become more egalitarian, making such events more accessible, they can also still be quite elitist. In the United States, for example, an International Debutante Ball takes place every year, attended by girls from various countries, among them the daughters of presidents and of other wealthy families. The ball is considered the ultimate networking event, where the rich and powerful mingle. A more accessible version of the Debutante ball may be the high school prom (short for promenade), which really is more about dating and dancing than about an introduction to society. “I don’t think the girls look like brides at the American Style Prom! I think the two have a different meaning attached to them. The prom is more an end of year formal dance for high school students and seems much more casual,” Jo explains. Still, teenage girls attending a prom might end up becoming the 'queen' of the ball for a night. Australia, where Jo made her documentary, is better known for informal BBQ than for formal society events, but I was surprised to learn that it also still has Debutante balls, usually organized by high schools, church groups or service clubs, such as Lions or Rotary, for girls aged between 15 and 18. Like in the other countries where the tradition exists, the debs' floor length ball gowns are kept in virginal white, making the girls look like brides - although marriage is probably furthest from their mind that night. Jo's photographs offer the viewer an intimate look into a tradition that they may not have come into contact with before. She intends her images to trigger an emotion or feeling that the viewer can relate to and engage with. “Adolescence is a time when emotions run high and are felt so strongly, and I would hope that viewers can catch glimpses of that in this series.” Jo aims to create scenes around the concept she is investigating. Her images of the ball convey a special intimacy and often focus on details, because she feels a need to express ideas with a creative approach to getting at something deeper than our common notions of family photographs. “I like to shoot close; it gives me a deeper connection to what I want to capture, that sense of intimacy.” PREPARING FOR THE BIG DAY You may have seen Baz Luhrmann’s Australian 1992 movie classic Strictly Ballroom , which features a small ballroom dance school participating in dance competitions. (If you are not familiar with the film, I can recommend it.) Nevertheless, ballroom dancing is not a huge part of Australian culture. Rather it is a niche discipline, and it is only on certain occasions, for example for a Debutante ball, that most teenagers make the effort to learn ballroom dances. Preparations for the ball are taken almost as seriously as planning a wedding would be. To prepare for the ball, the debutantes line up their partners months in advance, and together they spend 12 weeks preparing for the ball. Dances are learned at the school. The Tango, Gypsy Tap, Cha Cha, Progressive Jive are just a few from the list of dances. “And let’s not forget the all important and numerous dress fittings,” Jo adds. The girls get to pick their own partner. Jo's daughter Alex successfully recruited the boy next door for it. The Debutante ball is less common these days, more often held in smaller country towns. Although it was created as a formal introduction for young women into society and may not retain the prestige of yesteryear, the debutantes are very invested in their role. MIXED FEELINGS Jo has mixed feelings about this type of event. “I have created images that celebrate this ball mainly because I was framing it through my daughter's desire to be part of this ongoing tradition. But I also recognise that there are complicated issues that can lie beneath the surface of an image or a series,” says Jo. For her there are concerns regarding privilege and exclusivity, as the Debutante is a very expensive exercise and not every teenage girl has the financial background to enable her to be part of it. “Also, I would imagine in the school social sphere that there are those girls who perhaps don’t even have the option of finding a suitable partner.” When she photographed the event, Jo felt as if she were observing a theatrical performance from behind the camera. “The event was fun, a real ball! Proud families and happy teenagers all playing their part in this mad charade.” © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski © Jo Kalinowski On further reflection it has really made Jo consider how we frame experiences. In this instance, although there was so much, she does not agree with regarding the tradition and the traditional roles the debutante concept assigns to young girls in Australian culture, Jo feels that her coverage of the event should be interpreted as a positive look at the joys of youth and the celebration that her daughter will hopefully remember fondly. “Because at the end of the night, it was her night.” view Jo's portfolio Read an interview with Jo >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

Photography can document a reality that depicts truths. But what if photography was embraced and utilized as an artistic medium, like paint, pencil or pen? Where the photographic image becomes an expressive brush stroke, a significant gesture of character, a simple clue in an abstraction, based in reality. This is the creative approach to photography that allows Monika to create the surreal images that ground and define her body of work. Her imagination writes the story, utilizing photography and innovative techniques Monika depicts and illustrates her thoughts and ideas, allowing her work to speak for itself. MONIKA JURGA Photography can document a reality that depicts truths. But what if photography was embraced and utilized as an artistic medium, like paint, pencil or pen? Where the photographic image becomes an expressive brush stroke, a significant gesture of character, a simple clue in an abstraction, based in reality. This is the creative approach to photography that allows Monika to create the surreal images that ground and define her body of work. Her imagination writes the story, utilizing photography and innovative techniques Monika depicts and illustrates her thoughts and ideas, allowing her work to speak for itself. LOCATION POLAND CAMERA/S mobile phone @MJUMJU_008 FEATURES // New Realities In Visual Poetry

Photography, for me, is less an art form and more a means of bearing witness — a visual record of time passing, of how people live and adapt, of what gets left behind and what lingers. Living between cultures has shaped how I see. I am a product of a mashup society — Japanese by origin but deeply shaped by Western and non-Western influences I have encountered in New York. I photograph daily, mostly in black and white, mostly on 35mm film. I remain drawn to stillness within movement, to blank spaces where viewers can enter and complete the picture with their own imagination. HIROYUKI ITO Photography, for me, is less an art form and more a means of bearing witness — a visual record of time passing, of how people live and adapt, of what gets left behind and what lingers. Living between cultures has shaped how I see. I am a product of a mashup society — Japanese by origin but deeply shaped by Western and non-Western influences I have encountered in New York. I photograph daily, mostly in black and white, mostly on 35mm film. I remain drawn to stillness within movement, to blank spaces where viewers can enter and complete the picture with their own imagination. LOCATION New York UNITED STATES CAMERA/S Yashica T4-Super WEBSITE https://hiroitophoto.com/ FEATURES // NYC Subway Riders Before the Invasion of Smartphones

TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. TALES OF A CITY December 13, 2023 INTERVIEW PHOTOGRAPHY Seigar INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Seigar, a multifaceted artist based in Tenerife, Spain, who has a passion for exploring the world through his camera lens. With a background in philology and teaching, Seigar brings a unique perspective to his art, infusing it with his fascination for reflections, saturated colors, and icons. But it's not just the visuals that draw him in; Seigar is also deeply interested in pop culture and conceptual art, using his camera to tell stories and capture moments in a new and thought-provoking way. Seigar's journey as an artist began with travel and street photography, but it has evolved into something much more. He sees himself as a pop visual artist, constantly inspired by his travels and the people he meets along the way. He strives to go beyond simple postcards and instead create a continuous narrative that reflects his experiences and encounters. His camera has become his tool for documenting the world and exploring his obsessions and curiosities. While Seigar is primarily self-taught, he has also pursued formal education in advanced photography, cinema, and television. He has dabbled in various forms of art, including collage, video, and writing, always pushing himself to learn and experiment. He has exhibited his work in both national and international settings, and his art has been featured in publications around the world. Seigar's work has also caught the attention of publications like Dodho Magazine, and VICE Spain, where he has contributed his passion for supporting art and artists through text. Recently, Seigar has been exploring the world of video art, using his unique perspective to shed light on important societal issues, from individual freedoms to diversity and equality. His latest passion is documenting social issues related to identity, constantly searching for what makes people who they are. But amidst all of this, Seigar never forgets to embrace the present and seize the day, a message he shares through his captivating travel photo narrative series. In 2005, Seigar began a long-term project documenting the United Kingdom, a place that holds a special place in his heart both personally and professionally. Through his pop-inspired lens, he aims to capture the essence of British identity and share his connection to the culture. During his recent visit to the UK, Seigar revisited familiar urban locations, capturing his signature fetishes like shop windows, plastic people, food, and abandoned objects. But he was also drawn to the vibrant street art that adorns the city walls, using reflections, repetition, and saturated colors to capture its energy and essence. The result is a collection of photos that radiate a bright and shining light, reflecting Seigar's joy and love for life. Join us as we delve into Seigar's unique world of pop visual art, exploring his latest series. Through his direct and thought-provoking images, Seigar invites us to see the world through his eyes and experience the beauty and complexity of everyday life. “‘Tales of a City’ started as a way to portray the British identity, and then, it has become an invitation to live our lives fully and free. It is also a reflection of my ideas and views about the world. I want people to see these photos as my reading of British culture, a heritage that I feel linked emotionally and personally for a million reasons, and as a way to state the world is a beautiful place we should enjoy. This series is a part of my long-term travel and street photographic narrative about the UK, primarily captured in London, a project I initiated in 2005.” MEET SEIGAR: The Curious Visual Artist Exploring Pop Culture Through His Camera THE PICTORIAL LIST: Hello Seigar, thank you for the opportunity to discover more insight into your process of creating your visual stories. Welcome to the Pictorial List! Please tell us a little about yourself, where are you from, and where are you based now? What were some significant choices you made along the way to land on your home base? Seigar: I feel my hometown is La Palma Island, in the Canary Islands, which is called La Isla Bonita. La Palma is a peaceful, probably the most beautiful island I have ever been to, and the one I have felt more at ease. However, I decided to live in Tenerife, Puerto de la Cruz, probably because it’s quite similar to living in La Palma. In Tenerife, we can enjoy the sun the whole year around, good temperatures, the sea, the mountains, villages, traditions, local cuisine, and museums, it offers everything you expect from a paradise. That is how I see Tenerife, a paradise. Though I have visited 53 countries, and I love traveling, I wouldn’t change my residence. I think I can enjoy a quality life that can’t be beaten. I’ve always been interested in the visual arts since I was a child you could find me having a look at magazines and encyclopedias at home, attracted by the paintings of Dalí, and Frida Kahlo, but also quite fascinated by the lives and looks of celebrities and especially musicians, such as Madonna, Michael Jackson, and Prince. I would also be sketching women’s clothing designs in my notebooks and writing stories. This creativity has led me to what I am today. I consider myself, a teacher because I love my job, but also a visual artist, because I have found ways to express myself through different forms. Writing is essential for me because it helps me to complete the concept. Conceptual art is the prism I use to create. I usually join visual art with text, the statement lets me complement the art product. TPL: Tell us about your background in philology and teaching. How has it contributed to the way you see through the lens? What first drew you to photography, explain the importance of photography in helping develop your narrative in your visual stories. Seigar: I am very satisfied with the training I received at the University of La Laguna. I debated between linguistics and literature until I ended up dazzled by the methodology and everything it offered me. Being a pragmatic person, I decided that this was the most functional path to specialize in. When I finished my degree in Philology, I dedicated a school year to combining the Doctorate and the Pedagogical Qualification Course. I put into practice what I learned in private classes for children and adolescents. I also worked in academies until I obtained the Diploma of Advanced Studies. I passed the first exams I could take to become a Secondary School teacher. And since then, I have been teaching in secondary schools. I think that the University of La Laguna places us very well academically in the labor market; then, making your way depends on many external factors. My transition from student to worker was quite natural. I work as a high school teacher. I combine this profession with creating visual arts, writing, and collaborating with multiple magazines. Working as a teacher allows me to use the knowledge acquired in methodology and continue learning new strategies daily. There is an essential human factor in everything I do, and especially in a common point that education, arts, and writing unite: communication. I feel that all the tasks I dedicate my time to have that same element. I am interested in the ability to express and understand messages through interaction. I am pro clear and direct expressive speech, and I believe the main reason for communication is to transmit messages. In the classroom, I teach my students to interact with each other through language and other codes. In photography, I try to make the focus of my images clear and make sure people understand what I want them to see. I even wait for their responses in a dialogue, like I did in my series entitled Visual Interaction. When I write, I become personal. I like to research the topic without forgetting my reading. Concerning my infatuation with photography, I have always been a very visual person. Since I was a child, I remember drawing female dresses; I still draw them or buy music and film magazines, and I still collect them. I keep a lot of that creative side from my childhood. Traveling opened the doors to the world of photography for me. I remember that every time I came back from each trip, I would show the photos to my friends, and they were the ones who saw “something”. Far from bringing stereotypical images or postcards of the places I visited, I always captured repeated details from every trip. My fetishes in photography were defined automatically, intuitively, and without much planning: stolen portraits, shop windows, food, messages, garbage, and abandoned objects. TPL: We all face challenges and obstacles we could not have foreseen, what are some of yours, and how did you overcome them? What advice would you share? Seigar: In my life, I have struggled to achieve some of my objectives in the past, and now I can comprehend that I probably failed in getting obsessed with obtaining what I wanted. These days, I see it from a different view, it’s important to be passionate about your goals, but we have to be careful about the lines between passion and obsession. I would advise people to wish for what they want, but not to overthink or make an extra effort that could harm them. You need to wish, and then work for it with balance. And I would also recommend to choose carefully what they want to get. It’s important to be sure that our goal is our real goal, and that is going to bring good things in life. Careful with the things you are wishing for, ask yourself, is it going to be good for you? When I look back, I think I have chosen good goals in my life, and I’m proud of that, however, I think I sometimes failed in the process because I worked too hard to get them. I would do it with more balance if I could go back. That is something I would change. I can understand now that we can achieve our goals with equilibrium. And what is more important, I advise people to understand that our main goal is to take care of ourselves, eat, move, and rest the best we know, and also to keep on educating ourselves, our main work is self-care. I have realized that is our main job. The real job we all have is to take responsibility for ourselves. As an artist, there are some obstacles I can see these days, these are globalization, censorship, and the cancellation culture. I think globalization has brought blurred lines to the world of the arts. It seems the saturation of images and the use of social networks tend to unify visions or spread the sense of what is on and what is not. The main challenge is being faithful and loyal to yourself as a creator, trying not to depend on trends or accept the limits imposed by what you are supposed to be doing. I like the concept of the local and individual self; I like the idea of being me and keeping my identity as a creator. I think that is the most challenging task for creators nowadays. If you start doing what everybody is doing to be bigger, you may need to stop, think, reflect on that, and make a different decision. The world needs what you can give as an individual; the world does not need every person to show the same content with the same way of presenting it. When I see these videos about how you should be sharing your art, how to get new followers, and all that, I think that is not the right way. I think keeping your way is the key. I do not want to be a copy or a version of any other artist. Who wants 100 artists telling the same story, and in the same way? No one. And concerning censorship and all that, I think artists need to be brave, fight, and do it! Think about artists like Madonna, who has fought against so many taboos and is still there fighting against the rules and conventions. Artists need to stand up, be brave, and just go for it. If we all do it, the system won’t be able to keep up with this nonsense. I believe individual freedoms must be kept, and they are in our hands. For instance, if any social network censors a type of image or a type of expression and this one doesn’t damage anyone, it’s a matter of us all united to stop it; we are the ones who should decide. I think it’s a matter of time for people to realize that we are the ones who decide. No one authorizes me to create; I authorize myself to do whatever I want. It’s not out; it’s just me. My authority to be free and independent is inside of me; I don’t need to wait for anyone or anything for approval or permission to do what I want to do. I feel I am powerful, and I believe we are all powerful beings that just have to act and do. Throughout art history, many voices have rebelled against the rules, and they changed the path by doing that. I think it is time for contemporary artists to do things and break the rules. Actions are more important than words. There is no point in sharing a message asking for freedom; just be free. Let me tell you this with a metaphor. The metaphor is clear; it’s like a bird inside a cage with the doors completely open. That is how I feel about censorship. I also feel the same about many other situations society is facing these days: the same pattern, a bird that can fly and doesn’t. Why? I think common sense must be above any rule in the system. We can't obey a system when it goes against common sense or individual freedoms, and we cannot wait for its authorization to take care of us and do the best we can for ourselves. You just have to follow your instincts instead of blindly following “what you are supposed to do." Let’s be free and stop begging for our freedom. TPL: In your long-term project, ‘Tales of a City’ What do you want the viewer to experience from your work, what is their takeaway from their visual experience? Seigar: ‘Tales of a City’ started as a way to portray the British identity, and then, it has become an invitation to live our lives fully and free. It is also a reflection of my ideas and views about the world. I want people to see these photos as my reading of British culture, a heritage that I feel linked emotionally and personally for a million reasons, and as a way to state the world is a beautiful place we should enjoy. This series is a part of my long-term travel and street photographic narrative about the UK, primarily captured in London, a project I initiated in 2005. During the process, I have intended to capture moments of charm as a friendly reminder that we should view the world through our prism. Life and magic are omnipresent; we only need to open our eyes. In recent years, I've consciously distanced my ego from my heart, focusing on immersing myself in the creative process. My priorities have shifted to living, self-care, and relishing life. These new tales reflect this sweet phase in my life, and I am committed to making it last for a long, long time. I will no longer enumerate these series separately; I've realized these tales belong to the same project: Tales of a City. In my quest to identify British identity, I found my voice. TPL: You love to travel. You also live in one of the most picturesque locations in the world. Do you find your inspiration to create on or within the streets of Tenerife? Outside of home and London where has been your most favorite or interesting ‘tale’? And what city is next on your Wishlist to add to your series? Seigar: In Tenerife, I have done street photography in the villages and towns during my walks. I love exploring my island, too. I have done some landscape photography, though I have never felt completely reflected in this type of photography. I prefer other types of photography that let me show ideas, such as social or documentary. I have met people and told their lives through photography and text. Collaboration makes art richer and more complex; something simple can become something big with the right connections. I have worked with creative people who have added layers to my photography and video art. They have conveyed the ideas I wanted to express. I have worked several times with a young drag queen called Candy Porcelain, who has elevated my concepts through her art channel. I have also worked on the theme of new masculinities with young men. I have also worked on a project entitled 1, 2, 3 No Hashtags to deal with diversity, equality, body positivity, ageism, and other topics. I have done projects with trans people to talk about them as individuals and to tell their personal stories. I have worked with all different kinds of people to tell them who they are and their identities. Every life has some interest for me. I have shown the living moments of a boxer, a group of voguing dancers, belly dancers, drag queens, beauty pageant contests, theatre plays, ballet and contemporary dancing shows, fashion content creators, music festivals, and a digital and design illustrator. As I said, I like meeting people and showing what they want to say to the world. I have also recreated My Plastic People with a real model. I have done all these works in Tenerife; we have many creative souls on the island. I have found great inspiration in Europe, and I have been traveling all around doing my tales there. I found excitement in photographing Eastern Europe because of its different rural and urban scenery. However, I have also opened the doors to new narratives. From my recent works, I’m especially fond of my photo narratives from Cuba and Morocco. I think what I found there is so different from Europe that it has made my gallery have some new twists, intricacies, and storylines. These two countries unlocked new possibilities for my work. Last summer, I spent two months in Asia, but I haven’t had time yet to work on that material. I can tell it was an incredible experience that moved me. I can’t wait to see what I did there. Finally, my next destinations are Finland, Canada, and Liechtenstein. This is going to be at Christmas, in the winter, so this context would add some meaningful layers to my photography. TPL: Tell us about the many years of contribution to the arts, writing about art, and interviewing artists. What is your takeaway from the work you do? How have you grown as an artist, visually and intellectually? Seigar: Art and writing allow me to stay awake, grow, innovate, investigate, and learn. I can communicate and interact with other people and creators through these two channels. These are the two ways I have to express everything I have inside—two means of expression that I need to complete my life. I am a social person who enjoys the contact with people. Teaching has been my vocation since I was a child. I knew I wanted to be a teacher very early. My job keeps me in contact with lots of people and souls daily. And this routine is inspiring and makes me grow. Arts helps me to share my thoughts and the things I believe in. It’s the code to free my soul. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? If you could work alongside someone, who would you like to rub elbows with and learn from? Seigar: My main art references come from pop music: Madonna, Michael Jackson, and Prince. They have been the three icons I have admired the most in my life, and they still have a big influence on me, and who I am today. In cinema, I love Pedro Almodóvar, Alfred Hitchcock, Robert Aldrich, Lars von Trier and Tarantino. In painting, I adore Frida Kahlo, Salvador Dalí and Andy Warhol. All these people share very personal but radical views about what art is. They all show a unique universe that is glued in my brain and my heart. I’m sure if you scan me, you can find their musical and visual imagery in my soul. They all share a strong and passionate vision of art. That's what I'm looking for with my visual art. I can say that my favorite photographer is Martin Parr, I think he knows how to perfectly combine the image and the content with a very pop style. I also greatly admire the documentary nature of his work. Regarding the form, I stick with photographers like Man Ray, Diane Arbus, and Cindy Sherman, and paying attention to the content I would name Vivian Maier, Sirkka-Liisa Konttinen, Thomas Tom Wood, and Paul Graham. Almost all of them work in street, social, or documentary photography. Concerning the latest photography, I feel Lua Ribeira stands out; her sense of photography is fresh and original. I had the chance to write an article about her for The Cultural Magazine and it was fascinating to learn about her work. I’m also into the controversial Greek photographer Kostis Fokas, and the new realists Panos + Mary. Recently, I have had a crush on Greek photographers and the way they document reality, I would say Greek Photography these days has become a new expression of magic realism, and I’m also heading in that direction. I like to think that I’m sharing common views with them. I think right now, my sensibility is close to the works of contemporary Greek photographers, and also Eastern European countries, so that would be my first option for a collaboration. When we talk about admiration and influences, I would like to mention two special people who are everything to me in life, my mum who passed away but is still present in my everyday, and my sister who is my life. They are the real ones. Love you. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? Seigar: I think the key is discipline and perseverance. I consider myself an organized and planning person. I stay ahead of deadlines, I try to keep my work up to date, and the experience I gain with each project helps me not make the same mistakes. I am very observant and an analyst, I usually reflect on work processes and learn from them to be able to go faster the next time. It is part of my personality to be pragmatic and not waste time. I like to give myself fully to projects and grow. As you said, it is impossible for me not to be constantly on the lookout for a moment to be captured, I think that sentence defines the way I understand art and creation. Thanks for your deep dive into my work and soul. I can tell you love what you are doing too, and that is something wonderful. Thank you. 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? Seigar: I would like to find time to work on my last trips, as I do not stop moving, and I will never stop moving, it is not that easy to select and work on the materials that I am creating. However, my priority is living, so it will be done whenever I have the right time to do it. I accept it, and I’m fine with that. I would say that my main goal in photography would be to keep on selecting and working on my travel and street photo narratives. Telling my moves through my trips, as a testimonial diary. I have some ideas for video art too, connecting the tradition of this form with my view to understand it. I see video art as a way to experiment and channel concepts. And I also want to keep on exploring college to deal with current issues, collages help me to express my views on things that concern me. And finally, I would love one day to start doing installations, it attracts me. TPL: If you could explore another area of photography or art, what would that be? Why, what is it that you would be inspired to learn? Seigar: I want to start doing installations. The use of new materials and forms to create interest me. I already have some ideas that include toys, plastic people, or some furniture. I like the experimental aspect of an installation and its connection to the senses. The focus could be the idea of playing with toys, or the ready-made pieces. If I do something, I suppose it will be colorful, pop, and weird. When I visit a museum, I always find the installations quite intriguing and captivating. They commonly move me to feel things and to think, they usually surprise me. TPL: Your zest for life and your mantra to seize each day, how do you balance work and life? Seigar: I try to dedicate time for myself, that means taking care of myself and giving myself some love. I feel the more I care for myself, the more I can care for others. The more I help myself, the more I can help others. I try to be balanced and to listen to myself. To care about the words, I talk about me because we become what we say we are. It’s important to care about how we define ourselves. I listen to myself and my body to know and decide what is the best thing for every single moment. If you need to eat, to move, and to rest, that is how I understand my everyday life. And if I want to express myself, I also count on the art expression. I guess the moments I have felt at ease with myself, I have been able to be nicer and more generous with the people around me. The more you love yourself, the more you can give love. TPL: When you're not creating your visual stories, what do you do for leisure? Seigar: When I’m not creating, I hike, exercise, and eat out. I listen to music; I spend hours listening to music and reading music reviews. I love reading books about pop culture, and music magazines. I have coffee with my best friends. I meet and travel with my loved sister. And finally, I also go out and travel with my partner, and we enjoy life together. Thanks for the love. Seigar is a true testament to the idea of being a multifaceted artist - someone who constantly evolves, learns, and pushes boundaries in their art. From exploring the world through his camera lens to using his unique perspective to shed light on important societal issues, Seigar's passion and talent knows no bounds. His work is a reflection of his own obsessions and curiosities, capturing moments and telling stories in a captivating and thought-provoking way. And with his project, Seigar shows us that even in familiar places, there is always something new and exciting to discover. With his captivating photos and energetic spirit, Seigar reminds us all to embrace the present and seize the day, creating our own narratives and capturing the beauty of life. VIEW SEIGAR'S PORTFOLIO Website >>> Instagram >>> Facebook >>> 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.