EPHEMERAL REALITY Street life fascinates Juancho Domínguez causing him to keep looking for that unrepeatable scene and able to capture an ephemeral reality. EPHEMERAL REALITY November 11, 2020 INTERVIEW PHOTOGRAPHY Juancho Domínguez INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Juancho Domínguez is an inveterate pursuer of the ever-evolving street scene. His passion for street photography is deeply ingrained in his soul, and has only grown with time. From the hustle and bustle of the city streets to the small alleys and avenues, Juancho has captured a unique, unpublished reality that is hard to replicate. His use of black and white photography adds further drama to his body of work, while also providing a unique insight into the changing landscape of Venezuela. Juancho’s work speaks deeply to his own generation, as many of his images feature elderly people that reflect his own journey. But above all, Juancho’s photos capture the ephemeral nature of street life, emphasizing the beauty and mystery of a world in flux. “Venezuela is a melting pot of races, and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. I do not remember when I was young having seen so many older people on the street. Maybe they were invisible to me and now due to my own condition they present themselves to me at every moment in different activities, but I definitely believe that now there are more elderly people on the streets of Caracas, and it may be as a consequence of the social policy that has granted old-age pensions to a greater number of people, which makes them more independent.” IN CONVERSATION WITH JUANCHO DOMÍNGUEZ THE PICTORIAL LIST: Juancho please tell us about yourself. When did you start getting interested in photography? JUANCHO DOMÍNGUEZ: As I am retired, it occurred to me that to use my free time I could start taking photos, so the first thing I did was look for a compact (needless to say, I didn't know much about cameras) that I still use on some occasions. I started taking photos of objects, buildings, structures, etc., afraid of the human figure, and as I was feverish, I went out every day to photograph everything that caught my attention, and everything started to attract my attention. I was beginning to see again and see what I had not seen, what I usually saw. And so suddenly I discovered that I had a new love, like I was a teenager: photography. I did not know the force with which it is capable of catching one, becoming a simple attraction, a passion capable of absorbing all your thoughts, and of always wanting to carry a camera with me so that, in this way, I can testify afterwards what my eyes are discovering, with the charm of an inquisitive look that surprisingly wakes up. I am lucky to be friends with the photographers and teachers Susana Arwas and Edgar Moreno who invited me to the classes that they teach in their workshops on composition and photographic projects. There I went through a training process while I participated in the digital magazine that they edit: Magna, Histories of the Present. The work I do does not obey a specific photographic project because what is specific is the street itself, which is the best reflection of the pulsating reality of everyday life in a society that is undergoing a process of transformation. Venezuela is a melting pot of races, and that manifests itself in my photography. Older adults appear in many of my photos, perhaps this is a projection of my own self that identifies with people of my generation. I do not remember when I was young having seen so many older people on the street. Maybe they were invisible to me and now due to my own condition they present themselves to me at every moment in different activities, but I definitely believe that now there are more elderly people on the streets of Caracas, and it may be as a consequence of the social policy that has granted old-age pensions to a greater number of people, which makes them more independent. Now I am happier and with a new life project; filled with photos until I complete the last quarter of an hour I have left to live. The lights and shadows follow each other in moments and change in a few minutes and the action of the people is a matter of seconds, everything has to coincide with the moment, which is not only a decisive moment but also a decided one. I do not intend anything other than to give free rein to my restless and curious eye and show the result of that passion for photography. I am a man of few words, that's why I use photography. TPL: Street photography can be about waiting around for that right moment. What is that right moment for you? Is there anything particular you want to express through your photography? JD: In street photography, you don't always have to wait for the right moment, many times that moment comes as a surprise to you and you have to be reactive instantly, or you are left with the frustration of perhaps having lost the photo of the day and if so, it makes you feel bad every time you remember it. The moment is not only decisive but decided. What type of street photographer are you? I tend to be patient and discreet, going incognito among people, perhaps it is due to my shy nature, despite the fact that on many occasions people have said to me that I have taken a photo of them, with reactions ranging from kindness to violence. TPL: Do you have a favourite quote or saying that resonates with you the best? JD: A quote that I really like is this one by Julio Cortázar - "Among the many ways to combat nothingness, one of the best is to take photographs." I like it because I am a retiree who has nothing to do. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? JD: As I am fundamentally self-taught, my training has been informal and photographers have appeared on my way in a fortuitous way but I cannot forget when I met Fan Ho and the impression he made on me, by making me see photography as an artistic way to express your self and soul. Now I am happier and with a new life project: filled with photos until I have fulfilled the last quarter of an hour I have left to live. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? Do you do much post-processing? JD: The camera I use is very small, to go unnoticed and not attract attention. It is a Sony A5000 with a 16-50mm kit lens. I use Capture One with fairly basic processing, because I like to post natural photos, similar to what my eyes saw when I took them. TPL: Have you ever been involved in the artistic world before photography? JD: Yes, before photography I was making music for some time, mainly linked to theatre. TPL: Where is your favourite place to photograph? JD: In the centre of the city is where I move best because it seems to me that there is more contrast both between people and in situations that are worth photographing. I also look for places where light and architecture produce interesting shadow and chiaroscuro areas. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JD: I had several proposals, including a book for a university, but this pandemic led them to uncertain terrain. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? JD: What would fill me most with satisfaction is to see my photos in an exhibition, to show them to the public as a coherent whole that expresses not only the face and the heartbeat of the city but my own inner world. TPL: “If you weren't photographing what else do you think you would be doing? JD: Dying...” Juancho Domínguez is an exceptional street photographer who has dedicated his life to capturing the moments of everyday life in Venezuela through the lens of his camera. His work is a reflection of social change, and his mastery of black and white photography adds an extra layer of drama and contrast to his images. To get a closer look at the work of Juancho Domínguez, follow him on Instagram and witness his unique perspective on the people of Venezuela. VIEW JUANCHO'S PORTFOLIO Juancho's instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY IN 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. August 31, 2025 PICTORIAL STORY PHOTOGRAPHY Paola Ferrarotti STORY Paola Ferrarotti INTRODUCTION Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In In Between Life and After , Paola Ferrarotti turns her attention to one of Cairo’s most complex urban spaces, where history, housing, and survival converge. The City of the Dead is a vast necropolis in continuous use since the 7th century, a place of mausoleums, shrines, and family tombs that over time has also become a neighborhood. Today, thousands of families live among its courtyards and domes, shaping lives alongside the memory of the dead. Paola approaches this project with a background that informs both the rigor and empathy of her work. Born in Argentina and now based in Germany, she is trained in Political Science, International Relations, Linguistics, and Literature. Her photography practice is grounded in documenting real stories, bringing into focus the lives of those often overlooked. Previous projects have taken her from Germany’s protest movements to the struggles of Afghan women, from reflections on water to explorations of identity and belonging. What unites her work is a commitment to the human story within larger social and political contexts. In eastern Cairo, at the foot of the Mokattam Hills, this perspective leads her to spend time with a family living inside a mausoleum, where children talk about school, animals are kept in courtyards, and stories of the past are shared over tea. Rather than presenting the City of the Dead as spectacle or metaphor, Paola allows the ordinariness of daily life to speak for itself. Her images and writing invite us to look closer at how heritage and survival coexist, and how dignity persists even in precarious conditions. A Day Inside a Mausoleum I spent several hours with a family of five—parents, grandmother, and two children—who live inside a mausoleum. They welcomed me warmly with tea and stories. They showed me their animals: chickens, ducks, doves, a rabbit, and two dogs. The mother pulled out photos of her teenage daughter’s birthday party, speaking with the same maternal tenderness one finds anywhere in the world. Here, daily life unfolds as in any neighborhood. The children talk about school and football practice. The grandmother tells stories of the past. They laughed, shared concerns, and argued over small matters—the same rhythms you find in ordinary homes. Even amid precarious conditions, there is resilience, humor, and dignity. Between Necessity and Belonging Originally, families moved into tombs out of economic necessity, religious duties, or family tradition. Over the decades, these temporary arrangements became permanent. Many of the families residing in mausoleums are not descendants of those buried there. Instead, they reach an arrangement with the deceased’s relatives, agreeing to care for the tomb in exchange for the right to live in the space. Cairo faces a severe housing crisis, with soaring rents, overcrowded informal settlements, and limited access to public housing. For many families, the City of the Dead is not a choice born of preference or tradition, but a practical solution to survive. The mausoleums provide space, relative privacy, and a roof over their heads—making what is meant to be a resting place for the dead a home for the living. Residents also maintain traditions linked to family graves that are still visited by living relatives, who come to mourn and place flowers. The family I visited told me about these visits as they showed me, in the courtyard of their mausoleum, the area where a man and his wife were buried — bodies wrapped in shrouds, as is Muslim custom. The couple lies in a small subterranean chamber, accessible by a narrow staircase in the family’s courtyard, later sealed with cement because of the odors. Although I did not see the tombs directly, the family explained the arrangement, showing how the presence of the dead quietly coexists with daily life. Today, estimates suggest that tens of thousands, possibly up to half a million people, live here. For them, this is home—a place where ancestors’ presence merges with the routines of the living. The Life That Persists Life here is not without challenges: limited public services, informal housing, and an urban environment often stigmatized or overlooked. Many residents prefer not to be photographed, underscoring the need for sensitivity and informed consent in documenting the area. Yet, the City of the Dead also reveals resourcefulness, resilience, and solidarity. Courtyards become classrooms, rooftops shelter pigeons, and rooms transform into workshops. Daily life asserts itself among the tombs with dignity. Beyond the dramatic name — City of the Dead — what I found was life: fragile, ordinary, profoundly human. Heritage Under Threat Today, the necropolis faces an uncertain future. Bulldozers have already razed sections of the cemetery to make way for highways and overpasses linking Cairo to the new administrative capital in the desert, 35 kilometers away. Some of the demolished tombs dated back to the Mamluk era (13th–15th centuries) and were the resting places of scholars, cultural figures, and members of Egypt’s royal families. According to UNESCO, parts of Historic Cairo — a World Heritage Site that includes the City of the Dead — remain at risk despite official assurances that monuments will be preserved. Egyptian officials frame the demolitions as part of modernization and infrastructure development, but conservationists and urban historians warn that many mausoleums are not formally registered as antiquities, leaving them vulnerable. In May 2022, the tomb of Taha Hussein, one of Egypt’s most influential writers, was marked with a red cross and the word “demolition,” triggering public concern. Although the authorities officially denied plans to destroy it, nearby construction of an elevated bridge affected the mausoleum’s structure, partially covering it with concrete. Activists continue to document damage, photographing collapsed facades, shattered gravestones, and fragments of Arabic calligraphy scattered in the rubble. The destruction is not only architectural but social. Families who have lived here for generations are being relocated to distant neighborhoods, severing the community bonds that sustain them. For many residents, the City of the Dead is home, and these interventions risk erasing not only heritage but also daily life and communal memory. Looking Closer This work does not seek to romanticize hardship or dramatize loss. It is an invitation to look more closely. The City of the Dead is both a place of mourning and of survival, where heritage and humanity meet in fragile balance. Between crumbling stone and the sound of children’s laughter, life persists—ordinary and dignified. Methodology and Ethics The photographs were made with informed consent and prior dialogue with the family. Care was taken not to record personal names or precise locations that could expose residents to stigmatization or external pressures. This essay is informed by both direct experience and academic and journalistic sources that situate the work within its historical and urban context. © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti In Between Life and After shows us the City of the Dead not as an abstraction but as a lived reality. Families create homes among mausoleums, children grow up where ancestors are buried, and everyday routines continue against a backdrop of history and uncertainty. Paola Ferrarotti’s account is shaped by attention and care, allowing the ordinariness of these lives to emerge without sensationalism. Her story reminds us that what is under threat is more than architecture. The demolition of tombs and relocation of families risks erasing both cultural heritage and the bonds of community that have held for generations. Yet even within this fragility, life endures — resilient and deeply human. In inviting us to look closer, Paola affirms that the City of the Dead is also a city of the living, and that both deserve to be remembered. Bibliography: Amin. S, (2023), Egypt is killing the history of its City of the Dead , Atlantic Council. Associated Press, (2023), New highways carve into Cairo’s City of the Dead . Butler. S, (2025), Living among the graves: Cairo’s City of the Dead faces an uncertain future , Geographical Magazine. El Kadi. G, (2007), Cairo’s medieval necropolis: Architecture for the dead . [Publisher]. Society of Architectural Historians, (2023), Statement on cultural heritage losses in Cairo . UNESCO, (2023), Historic Cairo , UNESCO World Heritage Centre. view Paola Ferrarotti's portfolio 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. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

Meryl's series “New York PARADISE LOST Bushwick Era Disco” is an intimate journey through the pandemonium and ecstasy of New York City from the 1970s to the early 1990s. Meryl documents a tumultuous time in the city’s history marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and fiscal crises. Frequenting Manhattan’s legendary discos that arose from the disorder, she captured hedonistic havens patronized by celebrities and revelers of the night. In contrast, daylight revealed the beauty of those who loved and thrived in burnt-out Bushwick, where Meryl worked as a public school art teacher and continuously documented her surroundings. Meryl’s effervescent photographs are a personal memoir - love letters filled with compassion, humor, and angst as well - kept secret for decades until she retired from teaching. Meryl was headed to Studio 54 the night of the ’77 blackout, and the next day, she and much of the world first heard of Bushwick - a hellish neighborhood where fires and looting had erupted. Later in 2013, at BIZARRE (a Bushwick drag/burlesque nightclub), Meryl noticed a disco ball in the restroom along with another above the dance floor. This was an epiphany. Bushwick was now THE sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided becoming intertwined strands of NYC’s story and her own journey. This is when Meryl realized her photographs of Manhattan nightlife and Bushwick daylight belonged together. Meryl’s two previous internationally acclaimed books, A Tale of Two Cities: Disco Era Bushwick (2014) and Purgatory & Paradise SASSY ‘70s Suburbia & The City (2015) were just the top of the iceberg. The artist continued to dig into her archive, finding hidden treasures. Her new book, New York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021) takes an unexpected turn from clandestine clubs to the classroom where students and staff create a safe space to learn despite societal ills of poverty and prejudice. Meisler’s street photographs radiate with the joys of daily life in contrast to a background of hardship. The nightlife images expose the edgiest, darkest activities the artist has shared to date. Flash forward four decades, and Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is a nostalgia and sorrow for what is lost in the process of change. Meryl lives and works in New York City and Woodstock, NY, continuing the photographic memoir she began in 1973 – a uniquely American story, sweet and sassy with a pinch of mystery. Her work is represented by ClampArt. MERYL MEISLER Meryl's series “New York PARADISE LOST Bushwick Era Disco” is an intimate journey through the pandemonium and ecstasy of New York City from the 1970s to the early 1990s. Meryl documents a tumultuous time in the city’s history marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and fiscal crises. Frequenting Manhattan’s legendary discos that arose from the disorder, she captured hedonistic havens patronized by celebrities and revelers of the night. In contrast, daylight revealed the beauty of those who loved and thrived in burnt-out Bushwick, where Meryl worked as a public school art teacher and continuously documented her surroundings. Meryl’s effervescent photographs are a personal memoir - love letters filled with compassion, humor, and angst as well - kept secret for decades until she retired from teaching. Meryl was headed to Studio 54 the night of the ’77 blackout, and the next day, she and much of the world first heard of Bushwick - a hellish neighborhood where fires and looting had erupted. Later in 2013, at BIZARRE (a Bushwick drag/burlesque nightclub), Meryl noticed a disco ball in the restroom along with another above the dance floor. This was an epiphany. Bushwick was now THE sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided becoming intertwined strands of NYC’s story and her own journey. This is when Meryl realized her photographs of Manhattan nightlife and Bushwick daylight belonged together. Meryl’s two previous internationally acclaimed books, A Tale of Two Cities: Disco Era Bushwick (2014) and Purgatory & Paradise SASSY ‘70s Suburbia & The City (2015) were just the top of the iceberg. The artist continued to dig into her archive, finding hidden treasures. Her new book, New York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021) takes an unexpected turn from clandestine clubs to the classroom where students and staff create a safe space to learn despite societal ills of poverty and prejudice. Meisler’s street photographs radiate with the joys of daily life in contrast to a background of hardship. The nightlife images expose the edgiest, darkest activities the artist has shared to date. Flash forward four decades, and Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is a nostalgia and sorrow for what is lost in the process of change. Meryl lives and works in New York City and Woodstock, NY, continuing the photographic memoir she began in 1973 – a uniquely American story, sweet and sassy with a pinch of mystery. Her work is represented by ClampArt. LOCATION New York USA CAMERA/S Graflex Norita (1970s & current), Minolta SRT101 (1970s), Canon Sure Short (1980s), Pentax K 1000 (1970s & 1980s), Pentax 6 x 7 (2001-2019, needs repair), Fujifilm X 100 (current) WEBSITE http://www.merylmeisler.com/ @MERYLMEISLER @MERYLMEISLER FEATURES // New York: Paradise Lost Quirkyvision

CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. CONNECTED DICHOTOMIES July 5, 2024 INTERVIEW PHOTOGRAPHY Tatyana Mazok INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Emerging from the vibrant urban fabric of Minsk in Belarus, photographer Tatyana Mazok captures the essence of existence through her lens. With a rich academic background at Belarusian State Economic University, Tatyana tempered her mind with discipline, later infusing her artistic work with precision and passion. It was through photography that she discovered her authentic voice, a confluence of her diverse interests and her intrinsic identity. In 2019, under the illuminating mentorship of Elena Sukhoveyeva and Viktor Khmel, Tatyana’s creative flame was kindled, propelling her on a journey of exploration through the author’s school. Subsequent years saw her delve deeper into the nuances of the craft, navigating the realms of visual history at the Fojo: Media Institute Linnaus University and honing her cinematic eye at the esteemed ‘Marusina Masterskaya.’ Tatyana transcends mere technical skill. Her photography embodies the ability to capture the ephemeral, immortalizing the beauty of life’s transient moments. In her own words, “I shoot what I love and what interests me at a particular moment. And I get satisfaction from capturing the moment.” In her series “Connections,” Tatyana presents an introspective journey, using evocative diptychs to explore the complex web of relationships that shape our existence. Her lens thoughtfully transforms everyday moments into timeless reflections of beauty and self-discovery. Authenticity and emotional resonance are the cornerstones of Tatyana’s photographic philosophy. Her intuitive approach fosters a depth of immediacy and honesty, drawing viewers into her experiential narrative. Throughout the series, Tatyana deftly captures the ceaseless flux of the world around her. From the ever-shifting landscape of her urban surroundings to the subtle nuances of human interaction, each image serves as a testament to the ephemeral nature of existence. Yet, amidst the perpetual tide of change, Tatyana finds solace in the unchanging beauty of the natural world. As she eloquently observes, “The photos remain unchanged: family, nature, city and myself.” Central to the thematic fabric of “Connections” is Tatyana’s exploration of the myriad connections that bind us to one another and to the world at large. Tatyana skillfully reveals the hidden patterns of interdependence, sparking contemplation of our profound interconnectedness. Whether capturing the delicate symmetry of a family unit or the symbiotic relationship between humanity and the environment, Tatyana’s images serve as poignant reminders of our shared humanity. Beyond the visual allure, Tatyana’s work invites philosophical contemplation on memory and perception. She captures not just the world around her but also her personal experience within it, offering a unique perspective on the narrative flow of life and the resonance of visual storytelling. Join us in delving into Tatyana Mazok’s heartfelt photographic vision — a vision that extends beyond mere documentation, embodying the profound impact of photography as a conduit for introspection and discovery. “CONNECTIONS is a polysemantic name. On the one hand, there is an external visual connection between the photographs in each diptych: through color, compositional technique, and similarity. On the other hand, it is about the connection between human and nature, human and the city. And, how much they have in common. It’s also about my internal connection with each element in the photograph, because it’s all familiar to me: my beloved children, Belarusian nature, familiar roads and courtyards.” IN CONVERSATION WITH TATYANA MAZOK THE PICTORIAL LIST: Welcome to The Pictorial List Tatyana. What drew you to pursue photography as a form of artistic expression? TATYANA: At the very beginning of my journey, the technical part of photography was very difficult and took a long time for me. I slowed down and didn’t think about artistic language at all. I wanted to reveal all the technical secrets and, by pressing the camera button, produce beautiful masterpieces, filming everything. It was a great practical experience that led me to understand that photography can speak without words, speak for me, broadcast my inner feelings of the world around me. TPL: What role do diptychs play in conveying the interconnectedness of life in your work? How do you approach the composition and presentation of your diptychs to convey the connections you seek to highlight? TATYANA: Life and creativity are inseparable for me. In the diptychs there is an intensification of life. Moments from it. Let's just say, life twice: here it is life from frequent traces of birds on fresh snow and here is how the first rays of the sun covered a young face with freckles. They seem to be static objects, but they are a recording of what is happening in my life. The process of creating diptychs is always a unique event. It happens that one of the parts waits for its other half for two or three years. I don't deliberately shoot a frame in tandem with an existing one. I just take a photo of something, and then I scroll through it in my head and remember that once upon a time I already took a photo that would look incredibly good with it. Sometimes I make mistakes, but most of the time this exercise is successful. Can you imagine how great it is to bring together different years and different places? Of course, I pay attention to the composition of both parts. To enhance the effect, sometimes you have to crop the original frame. TPL: How do you incorporate elements of emotion and storytelling into your photographs to evoke a deeper connection with viewers? What emotions or messages do you hope viewers experience or take away from your photographs? TATYANA: I achieve contact with the viewer by close framing and large details. It turns out to be a kind of presence effect. The project is not difficult to perceive, visually calm in color, and it seems to me that every viewer will find in it something from their everyday life, memories from yesterday or today. I would also like the project to remind everyone of the beauty of every moment, of the value of our everyday life. TPL: How do you select the subjects or scenes that you capture in your photographs? What role does personal reflection play in your photography process, particularly in relation to your own connection to the subjects you photograph? TATYANA: Most often, my attention is attracted by lines, geometry, a fallen shadow, or my internal problem. I can walk and notice a fallen leaf, and now it’s already in the frame. I haven't photographed everything for a long time. And at different periods of my life my focus of attention changes. This gives food for thought - what is most important to me now. My inner experiences are transferred into photography. This changes the topic of research, working through a photograph of one’s feelings. This also affects the choice of color combinations in the frame. TPL: Can you share a memorable experience or moment that significantly influenced your approach to your photography in general? TATYANA: I had the experience of taking an amazing “Film Frame” course, where students watched films of one famous director every week, for example, “Kurosawa.” We analyzed the director’s visual language, his distinctive techniques, for what purposes and emotions they are applicable. And then they filmed their shoot using that language. Afterwards, I always thought about what I wanted to say with my shot, and what color, light, and compositional technique would help me with this. I also began to look at photographs of other authors, analyzing the author’s language. My photography serves as a documentation of my life. TPL: In what ways does your photography serve as a form of documentation or storytelling of your life and experiences? TATYANA: In general, all my photography is a document of my life. Whether I shoot self-portraits or my surroundings, this is all my little story. I show up in my photographs. You could say it's a photo diary. And, if they look back, this woman’s diary will talk about her mood, outlook on life, favorite color, some internal conflicts, joyful moments. And sometimes this diary has blank pages. TPL: Can you share any insights or lessons you've learned about yourself or the world through the process of creating “CONNECTIONS”? TATYANA: In the process of selecting photographs for the “Connections” project, I once again reminded myself of my inspiration and my content. Reviewing several years of archives, I have determined that my eye and my camera focus on what I love. I am filled with my family, the city I live in, trips to nature and myself. TPL: What drew you to study under Elena Sukhoveyeva and Viktor Khmel at the author’s school, and how did that experience influence your photography? And, how has completing courses such as ‘Photo History’ at Fojo: Media Institute Linnaus University shaped your understanding and approach to photography? TATYANA: At a certain point, I felt limited in my knowledge of photography. And how funny it is for me now, it seemed to me that I already knew so much. But I didn't know where to move next. In the direction. I was drawn to art, but there seemed to be a gap between us. I understood that I couldn’t handle self-education on my own; I needed a guide. In my search for a teacher, in reading reviews, in correspondence with graduates of Elena and Victor, I realized that this was what I needed. But I didn’t know that this would be the most difficult training, full of information, lectures, and deep immersion in project photography. A new, different world opened up for me, new names in the world of photography. Unfortunately, for a number of reasons, I was never able to complete my graduation project at this school. The knowledge gained here was structured in my head and rethought over the next three years. We can say that they were the basis for my design thinking and are still sprouting. The “Photo History” course, on the contrary, turned out to be easy for me to understand, but also deep in knowledge. A lot of material was filmed. I learned to speak through a series of photographs. My personnel selection process has changed, my view of topics that are of interest to society and other people, but not previously relevant to me, has expanded. But the main takeaway is to always choose what is important to you. Then working on history will be a pleasure. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TATYANA: I am firmly convinced that everything I saw and heard earlier in one way or another influenced me as a photographer. Something is filtered, something is analyzed and leaves an imprint. But I cannot pinpoint the authors who shaped my approach. I can name who I'm currently inspired by. Among the photographers are Jaume Llorens with poetic images of nature, Saul Leiter with his irregular framing, negative space, amazing color, Ilina Vicktoria - her portraits fascinate with light, contrast and deep emotion. I also really love the visual techniques of director Paolo Sorrentino. TPL: What do you hope to achieve with your photography in terms of personal growth? TATYANA: Great question! And of course I will be honest. I dream that my photograph will become part of the collection of MOMA, the Hermitage, and the European House of Photography in Paris. I dream of becoming one of the hundred most famous female photographers in the world. Loud, but that's how it is! TPL: When you are not creating your art through your photography, what else could we find Tatyana doing? TATYANA: I try to find time for everything that is dear to me. I used to sew a lot, embroider, and make jewelry. Now I read more, go to theaters, museums and of course spend time with my large family. As we reach the culmination of our exploration into the work of Tatyana Mazok, it becomes evident that her photography is not just an art form, but a vibrant tapestry interwoven with threads of life itself. With each photograph, Tatyana invites us into her world, offering a glimpse into the raw and unfiltered essence of being that defines her subject matter. Tatyana’s unique talent lies in her ability to transform life’s chaos into moments of serene clarity. Through “Connections,” Tatyana has not only shared her vision but also challenged us to see life through a different lens — one that recognizes the intertwining narratives and shared experiences that unite us. Her work is a compelling reminder of the beauty and complexity of the world we inhabit, and the endless possibilities that lie in the simple act of pressing a shutter. In closing, Tatyana Mazok's artistic journey is a testament to the enduring power of photography to move, to provoke, and to inspire. Her images remain etched in our minds, echoing the timeless dance of light and shadow, and inviting us to pause, reflect, and connect with the world in profound ways. Let us carry forward the message embodied in her work — that in the fleeting moments of life, there is a depth of connection and beauty waiting to be discovered. Thank you, Tatyana, for opening our eyes to the enduring connections that bind us all. VIEW TATYANA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I am a comedian and a photographer. I am a twin. My twin brother is ten minutes older than me. Time, I'm told, for my mum to have a cup of tea in-between deliveries. One year at senior school I received an A for effort and attainment in every single subject on my end-of-year school report. I then became obsessed with magic and performing and ended up getting an O level grade for my French A level. Merde! On a positive note I was a finalist in the Young Magician of the Year in 1985. I also passed Grade 8 on the flute. My dad was mayor of Epsom & Ewell 1990/91. I started stand-up in 1992. I am conversational in the Serbian/Croatian/Bosnian/Montenegrin languages. I saved my father-in-law from drowning in the sea off the Montenegrin coast in 2007 with the help of my twin brother. I have had two operations in the last several years to combat my snoring. The first was an Uvulopalatoplasty (a surgical procedure in which a laser is used to remove most of the uvula at the rear of the mouth). I'm not a baby, but that bloody hurt. It kind of worked (but not enough according to my wife). The second was a Radio-Frequency Ablation or Somnoplasty (the inner tissue is heated to 85 degrees Celsius, resulting in the tissue beneath the skin being scarred). This operation was not as painful. It did not really work either. It does however require the patient to undergo several sessions. I never went back for more. I am still married, but tend to sleep in the lower bunk of my son's bunk bed, who on occasion is known to shout at me to stop bloody snoring (so I'm told). I have never played Candy Crush. For the last 10 years or so I've been documenting my scene, the comedy scene: backstage and on stage, the highs and the lows, the camaraderie and the competition, the loneliness and the isolation, and the outright joy of being a stand-up comedian. STEVE BEST I am a comedian and a photographer. I am a twin. My twin brother is ten minutes older than me. Time, I'm told, for my mum to have a cup of tea in-between deliveries. One year at senior school I received an A for effort and attainment in every single subject on my end-of-year school report. I then became obsessed with magic and performing and ended up getting an O level grade for my French A level. Merde! On a positive note I was a finalist in the Young Magician of the Year in 1985. I also passed Grade 8 on the flute. My dad was mayor of Epsom & Ewell 1990/91. I started stand-up in 1992. I am conversational in the Serbian/Croatian/Bosnian/Montenegrin languages. I saved my father-in-law from drowning in the sea off the Montenegrin coast in 2007 with the help of my twin brother. I have had two operations in the last several years to combat my snoring. The first was an Uvulopalatoplasty (a surgical procedure in which a laser is used to remove most of the uvula at the rear of the mouth). I'm not a baby, but that bloody hurt. It kind of worked (but not enough according to my wife). The second was a Radio-Frequency Ablation or Somnoplasty (the inner tissue is heated to 85 degrees Celsius, resulting in the tissue beneath the skin being scarred). This operation was not as painful. It did not really work either. It does however require the patient to undergo several sessions. I never went back for more. I am still married, but tend to sleep in the lower bunk of my son's bunk bed, who on occasion is known to shout at me to stop bloody snoring (so I'm told). I have never played Candy Crush. For the last 10 years or so I've been documenting my scene, the comedy scene: backstage and on stage, the highs and the lows, the camaraderie and the competition, the loneliness and the isolation, and the outright joy of being a stand-up comedian. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm X-series, Leica Q WEBSITE https://www.stevebest.com/ @STEVEBESTPICS @STEVEBESTPICS FEATURES // Comedians

CONCEPTUAL REALITY NastPlas is a Spanish creative duo changing the way we look at photography, blurring the lines between reality and abstraction. CONCEPTUAL REALITY February 2, 2022 INTERVIEW PHOTOGRAPHY Nastplas INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For the modern eye, the work of Nastplas is a mesmerizing blend of art, technology and photography. As a creative duo born from the fusion of two talented Spanish mixed media artists - Fran R. Learte (aka drFranken) and Natalia Molinos (aka Na) - Nastplas has been pushing the boundaries of digital art since 2006. With a distinctively deep and enveloping aesthetic, they are changing the way we look at photography by bringing 2D forms into experimental digital spaces. Nastplas draws inspiration from their environment to create unique projects that offer a journey into their vivid world. Their subject range is incredibly vast and exploratory, as showcased in their expansive portfolio. From photomontage and collage to 3D illustration and digital painting, each piece of work is an exploration of the imagination and the unexpected. At its core, Nastplas is about using creativity to interpret reality - to craft something beautiful out of what we see every day. It’s about turning the ordinary into something extraordinary, and in the process, inspiring viewers to see the world differently. “MAISON BAU is a project inspired by the Bauhaus and the work of the Spanish designer Maison Mesa. We love his work and it was in one of his shows (VIVA BAU!) that we took these images. Mesa invited us to his show and we took several shots from his collection, inspired by the way of doing and thinking of the Bauhaus school at the beginning of the last century. From our captures, we wanted to combine different basic graphic elements and primary colors to build a plastic, poetic and modern language that reflected a return to basics and essentials.” IN CONVERSATION WITH FRAN R. LEARTE AND NATALIA MOLINOS FROM NASTPLAS THE PICTORIAL LIST: You are a creative duo based in Madrid, Spain. Can you start by introducing yourselves and tell us how all NastPlas started? What was your journey into photography? NASTPLAS: NastPlas is an international creative duo based in Madrid, Spain and formed in 2006 by myself, illustrator Fran R. Learte and creative director Natalia Molinos. Our work combines an impressive range of digital elements and abstract patterns which we create in order to elaborate pieces of art with a deeply aesthetic feeling. Later, Natalia opted for Interior Design and Decoration; and I opted for computing and technology. From here, we started working together as NastPlas. We started working in 2D digital art and now we mainly work in 3D and photography. We have always been passionate about photography, but when we got our first camera, a visual world opened for us and we began to take images and tell stories through our shoots. TPL: Artists often build up and experiment towards a method of working. Your work explores in a conceptual background the limits between reality and abstraction. Does this apply also to your photography projects? Has your imagery become more abstract over time, or did you know exactly what you wanted from the beginning? What are some of your references for the research for your photography projects. What has been the inspiration for your work? N: Yes, our work has become more abstract and conceptual over the years, both in illustration and photography, although from the beginning we were quite clear about our path. Regarding photography, we are inspired by New York photography of the underground scene, Spanish manners photography of the 30s, 40s and 50s and also the work of Jean-Michel Basquiat, and the time of 'The Factory' with Warhol. TPL: You like to work across different mediums...regarding your photography projects specifically, how do you balance how much cross-media in your photography before you think it pushes the boundaries of photography? N: We highly value the original aesthetics of our photography, but due to our work as 3D creatives we are in a constant search and experimentation of various digital techniques and in some series or individual photographs we merge these two facets. TPL: What have been some of your most memorable moments over your creative journey? N: One of the main ones has been working for Kobe Brian and the wonderful Nike team. TPL: Do you ever get burnt out creatively? Explain how you keep the creative energy flowing. N: Not really. We are always investigating, going to exhibitions of photography, painting, sculpture, etc. and above all reading and learning techniques from any artistic discipline. Our work explores in a conceptual background the limits between reality and abstraction through an ascending and constant process of artistic investigation and experimentation. TPL: Do you have any favourite artists/photographers? N: Bill Brandt, Bartolomé Ros, Francesc Català Roca, Nicolás Muller, Ramón Masats, Robert Herman, Frank Horvat, Meryl Meisler, Matt Weber, Martha Cooper, Henry Chalfant, Janet Delaney, Richard Sandler, Vivian Maier, Brassaï... TPL: In regard to your photography...if you could just choose one photographer to shoot alongside for a day...who would you choose? And why? N: We would love to talk about photography and take photos with Bill Cunningham, as he is one of the leaders of "street style". One day with Bill Cunningham going out for a walk in New York, it would be fantastic! TPL: What are some tips or advice you would give yourself if you started photography/business all over again? N: Photography is a complex artistic discipline and it is difficult to make a living from it, but we would advise those who are new to it to seek their own gaze regardless of or seeking the assessment or approval of others. Just do what you love and show it to the world. TPL: Does the equipment you use help you in achieving your vision in your photography? What equipment and camera/s do you use? N: We use various Canon cameras with 50mm, macro 100mm, 80mm, EF70-200, fish eye len, and various Polaroid cameras like SX-70, I-1 or the fun talking camera. TPL: What are some of your goals as artists or photographers? Where do you expect to see NastPlas in five years? N: As artists we would like to see our work exhibited in some galleries we admire and continue doing what we like the most, dedicating ourselves to art. TPL: When we are not out photographing or creating in the studio, we (like to)... N: Enjoy nature, walk and make music. The work of Nastplas is a rare blend of art, technology, and photography, creating creative projects that offer a journey into their vivid world. Each piece of work is an exploration of imagination and the unexpected, ultimately, inspiring viewers to see the world differently. VIEW NASTPLAS' 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.

HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. HONG KONG TAPESTRY May 19, 2023 INTERVIEW PHOTOGRAPHY Giles Isbell INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The bustling streets of Hong Kong have seen some of the most tumultuous and trying years in the city's history. But through it all, it has remained a place of beauty and mystery, one that English photographer Giles Isbell has embraced and explored through his lens. Giles has sought to capture the underlying emotion of the city, with his high contrast shadows, reflection and abstract composition in his series on Hong Kong. Drawing from the political and social reality of this unique metropolis, Giles hopes to create something beautiful and half-revealed in his work, using masks as a metaphor for the stories that remain hidden and unspoken. In his photographs, he attempts to show the many faces and emotions of Hong Kong, from the joys of everyday life to the struggles of its past. By exploring the intricate details, Giles Isbell has hoped to create a unique tapestry of what it means to to have once called this majestic city home. “English born and raised, but I always had an eye for adventure that has led me to live in all sorts of places - Sydney, Tokyo, and Dubai where I met my inspirational Milanese wife and started a family and, for the last few fascinating years, an irreversibly fast-changing Hong Kong. I teach history and I am lucky enough to work in the international school system which allows me to get paid to explore places I could only dream about as a child growing up in England. That’s why I’m in Hong Kong and soon to take up a post in Chiang Mai Thailand which I’m very excited about. I’ll be sad to leave here but I’m excited about a new adventure with my camera.” IN CONVERSATION WITH GILES ISBELL THE PICTORIAL LIST: Hello Giles…welcome to The List! What would you say first drew you to photography? What is it about this medium that you still have a passion for today? How did you find street photography? GILES ISBELL: Hello Pictorial List thanks for having me. I grew up on the edge of Hull in East Yorkshire in the north of England. I was far too energetic, too unfocused, to sit still at school and this got me into all sorts of trouble; so academically I wasn’t a great success. If only someone had stuck a camera in my hand. But back in the 70's and early 80’s, English teachers were often an indifferent bunch. This was a time when it was ok to hit children, or at best turn a blind eye to the random neglect that was common place in the comprehensive schools of the day. On weekends I used to head out with a very heavy book of birds and my dad’s binoculars for hours on end. I explored the woods and hedgerows seeing what I could find. I think what I enjoyed most was being alone with my thoughts and coming home with mud on my boots. I can’t remember seeing many particularly exotic birds, I remember lots of noisy acrobatic crows but I enjoyed the ritual, sense of adventure and lack of regimentation of open space. Perhaps this explained why I was drawn to photography because it was something I could do alone, like birdwatching; just me and a camera; without the judgement or sense of rejection I’d experienced in the school system. Going out alone with my thoughts inspires me still. It keeps me out of trouble. I think the streets I photograph are an extension of the woodland I explored as a child. I’m self-taught and this always feels like a great big ‘fuck you’ to those who had no faith or belief in me as a child. I found street photography when I saved up enough to buy a Panasonic G1 that I had read about with a 20mm pancake lens and a ticket to India; I flew into Delhi and circumnavigated the country with only that camera and had a blast! That was twenty years ago and the start of my love affair with the streets. TPL: Could you tell us what living in Hong Kong has inspired in your work? What special qualities unique to this city influence your street and the way you portray your community? GI: Like all the world’s great cities Hong Kong is an insane mix of traditional and modern, orderly, and seemingly chaotic, but always very distinctly Hong Kong. This is what makes it so special. Hong Kong is somehow Chinese and at the same time it is not. It’s very specifically and fiercely Hong Kong. Hong Kongers have a way of carrying themselves, a way of acknowledging your presence politely but carrying on with their day as if you weren’t there. I mentioned to a colleague when I first got here about what I’d noticed in Hong Kongers eyes, and I think she thought I was barmy. I see something in their look, a resilience, a resignation perhaps but definitely something reserved and gentle that I find appealing. Perhaps this is because since I’ve been here everyone has been masked-up drawing more attention to the eyes. But if eyes are the window to the soul do they somehow reflect the deepest emotions, and fears of political and cultural change. I’m trying to capture something of this in my photography. I’m also trying to communicate some of the changes that’s happening here. Hong Kong has shifted while I’ve lived here in ways it’s hard to fathom without speaking the language. It’s a very guarded society. What I am sure of is that my photographs are redolent of a time that’s unique in Hong Kong's long and turbulent history. Hong Kong reveals itself but never fully to me. TPL: Where do you find your inspiration to create? GI: This I don’t know the answer to. I think it was Helen Levitt who said she expressed herself with images as she was too inarticulate. I’m not schooled in the language of photography but it’s something I feel intensely though; I visualise better than I can describe. I guess my inspiration is somehow rooted in my childhood. And I have a really strong desire to be recognised at least by myself for something creative. I think that’s what keeps me pounding the streets. TPL: There are two techniques that are colloquially referred to as ‘hunting’ and ‘fishing’ in street photography. When you are out on the street taking pictures, are you a ‘hunter’ or a ‘fisher’, or is it a combination of the both? Please describe your process. GI: My photography is mostly spontaneous, and I think that makes me a hunter through and through although trying to slow down. I see the benefits of shooting with intention but usually find myself being led by the mood I find myself in on any given day which usually dictates that I hunt. I’m impatient too which makes fishing almost intolerable most of the time. Like a moth I tend to be directed by the light and I’m forever dashing around looking for a source of illumination. This is the challenge I’m inspired by. TPL: What is the most rewarding part of being a street photographer for you? What are some of the challenges that you have faced? GI: I’m incessantly searching for that almost biblical moment when the cloud’s part, bathing my stationary subject in light, which rarely, if ever happens. The most rewarding part of being a street photographer for me are those moments that I alone experience. Hong Kong in the dead of night is alive in ways I would never have experienced if it hadn’t been for photography. Those moments quietly standing in a darkened doorway watching the city flow past. The biggest challenge for me here is using a 50mm lens in some of the narrow streets realising my back is against the wall, literally, and I haven’t got the width to capture the scene in front of me. It’s also constantly challenging trying to translate the image I can visualise into an image I can capture in reality. It’s the uncertainty and uncontrollable elements that need to somehow converge that make street photography so unpredictable and exciting. The reward is as much in the process as it is the result. TPL: Is it impossible for you not to be constantly on the lookout for a moment to be captured? GI: Yes, totally impossible. I’m obsessed. A glint in the eye or light falling in a certain way sets me off composing in my head. I’m doing it now as I write. Angles, shadows, reflections are everywhere. I want to be taking photographs all the time and I think it drives my long suffering wife mad. I’m self-taught and this always feels like a great big ‘fuck you’ to those who had no faith or belief in me as a child. TPL: How do you manage a work/photography balance? GI: With great difficulty. As a father of two everything all the time alone I have is precious. What I’ve learned to do is maximise the time I’m allocated and that makes the photographs I capture all the more meaningful. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GI: I’m inspired by Don McCullin; his work stands apart. My parents read the Sunday Times back in the day and I remember being mesmerised by his Sunday Supplement Magazine covers that used to be discarded around the house. I have strong memories of staring intently at these complex images, usually of war torn countries and trying to understand the world they came from but having no idea about the complexities of the places they represented. They were distant and far away. I think more than anything they made me realise that England was too small for me and I wanted to go out and explore. I don’t come from anything like the same working class background as him but I lived in North London for a few years close to where he grew up. My father and grandfather were both born in North London as well, and although we are a generation apart, I’ve always felt slightly ashamed of my education. He has written about his shame too and this resonates with me. He’s an outsider. He talks about darkness in his work that comes not so much from his experiences of war but his background growing up in poverty on North London streets. He’s significant as he made me look outwards. I’m inspired by his harnessing of talent despite the background he came from. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? GI: Apart from Don McCullin, if I could, I’d share the early morning golden hour with Alex Webb as he goes about planning his offbeat multi-layered compositions as the sunrise slowly reveals shadows, colour and silhouettes out of the darkness. About an hour before sunset, I’d be hanging out with Saul Leiter in a quiet bar with a table by a window overlooking a crowded street alive with the flotsam and jetsam of city life passing by. I’d watch, and listen, intently as he explains to me the process he goes through to make those photographs that stop me in my tracks whenever I see them. The ones with beautiful colour combinations that somehow capture a suggestion of movement often obscured or partially glimpsed. His photographs are so wildly evocative. I love his unhurried way of capturing a multi-layered New York using reflection and rain. It’s the story part-told I find so intriguing with both of them. More realistically I’d love to spend a day with Stuart Paton (which I could as he runs workshops in Milan); I’m still figuring out his stunning use of light and shade and seemingly impossible reflective compositions; I love what he’s doing. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on your wishlist? GI: My dad had an old Pentax; left dusty and unused in a wardrobe since he left Cyprus where my family had lived for a few years in the 60’s; my older sister Sarah was born there. He took some wonderful B&W family pictures with it that are of a family centred time and place long lost. He was a navigator in the Royal Air Force based in RAF Akrotiri. My parents lived in a Turkish district somewhere in Limassol, and he used to tell me of evenings spent listening to sporadic gun battles in the neighbourhood and once having to slam his Hillman Minx into reverse after being shot at on his way to the airfield; he was told to carry his service pistol with him at all times. Thankfully he never had to use it. It was only years later I realised McCullin’s first overseas Observer assignment was to cover the Cypriot Civil War in Limassol when my parents were still living there. I think the British personnel stationed there were left alone as at the time this was strictly a Turkish/Greek quarrel. Years later I found that camera. I was 7 or 8 years old and I’d open-up the leather case with a click and marvel at the chrome and glass and feel its weight in my hands. There was never any film in it. I shoot on a Canon R5 with a 50mm f1.2 lens which is a bit of a monster, but I love its low light ability. I want a Leica of some sort or another and I’m not sure what model yet but do know I want something light, small and unnoticeable. I’m attracted to Leica’s history and somebody gave me an uppercut in Milan last year and made me think I need a less obtrusive lens for my street work especially in Europe. 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 for the next 3-5 years? GI: I’m trying to put together a series that builds on my current series. My goals in the next 5 years are becoming happier with what I do, more confident to display my work. I want to truly master street photography (if that’s ever possible). I know I’m on a journey and what I hope is that I can put together a body of work that means something someday to someone somewhere. TPL: “When I am not out photographing, I (like to)... GI: Take cover.” Giles Isbell has created stunning images of Hong Kong and is now taking his talents to Thailand. His work captures the beauty of the cities he visits in his own unique way. We wish Giles the best of luck in this exciting new chapter of his life and are looking forward to seeing his work from Thailand. To watch Giles' journey, connect with him on Instagram. VIEW GILES PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

ROLL THE DICE Greek photographer Sofia Dalamagka talks to us about her project where human existence is hiding behind every capture. ROLL THE DICE November 4, 2020 INTERVIEW PHOTOGRAPHY Sofia Dalamagka INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link We all know the feeling of loneliness. The feeling of being unseen and unheard, of being lost in a crowd of strangers, all of them going through their own struggles and joys, none of them truly noticing us. But when we look closer, we can see the secrets hidden in their faces. The feelings that cannot be voiced, the stories waiting to be told. It is this hidden beauty that Greek photographer Sofia Dalamagka seeks to capture in her work. Sofia takes us on a journey around the forgotten ports and impersonal cities of the world, introducing us to the faces of strangers who, in their own way, tell stories and evoke emotions within us. Through her lens, Sofia dives into the innermost depths of human existence and reveals the feelings hidden away beneath the surface. These are people searching for something, be it joy, recognition, or even just a way out. Connected by a shared sense of deep loneliness, they are paused in time - living and breathing in moments that will never return. For Sofia, photography is not just a profession; it is an art, a form of love that will never pass away. Her camera is her eternal mistress, and through it she invites us all to take a second look at the people who pass us by each day. To pause and reflect on their innermost thoughts and feelings, and to uncover the hidden beauty in our own lives. With her work, Sofia Dalamagka encourages us to recognise the importance of understanding one another, and to appreciate every moment that life gives us. “Photography is a way of my existence, a kind of love that does not wear out as time goes by and my camera is my eternal mistress. The only thing that I’m sure about is that I don’t want to give answers, but I want to create questions. For me, capturing a moment should create doubts. Maybe I want to do a social statement. Sometimes, I want to express all the feelings that I hide. Sometimes I want to make the viewers question themselves, provoke or to disturb them. Even give them some negative feelings because that is a way of a creating a connection with the picture you have taken.” IN CONVERSATION WITH SOFIA DALAMAGKA THE PICTORIAL LIST: Sofia please tell us about yourself. When did you start getting interested in photography? SOFIA DALAMAGKA: I started taking photographs as an amateur when I was 28 years old. It was some kind of love which still continues to give me that feeling until today. For about two to three years I took a small break. Photography was my 'saviour' when I felt totally blank inside, when I was questioning my own existence. Between falling and creativity, I consciously chose the second. I try to evolve constantly by taking lessons, seminars, certifications of courses, by reading and studying a lot, by experimenting. Many times, success flirting with failure. And that's where all the magic hides, trying to overcome yourself and your expectations! TPL: You sent us photos from your series 'Roll The Dice'. Tell us how this idea started and what you want the viewer to interpret? SD: Roll the Dice is a poem by Charles Bukowski. He is my favorite poet and writer. I read that poem every time I get desperate. That poem was the main idea for the creation of these pictures. It talks about those who lose their courage, and find many obstacles during their everyday life. I want the spectator seeing these pictures to realise that it is important to remain humane and that everyone is alone in this world going through his own everyday battles. TPL: Where do you find your inspiration to keep photographing? SD: In love, traveling, in a passing glance, in books, in the waves of the sea, in the sound of rain, in the smell of wet soil, in promises that weren't kept, in stories of lovers and friends. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? SD: Francesca Woodman and her tragic end have affected me deeply as an artist and as a woman. Nevertheless, Daido Moriyama work with his dark nightly Contrast, Saul Leiter’s poetry and Vivian Maier’s deep irony about human existence spreading through all of her work were what sculpted the way I take for real and how I try to show the meaning of what I see. TPL: Do you prefer to photograph alone or with friends? SD: I think of photography as a unique procedure where there is no space for babbling. It’s a secretive experience. If you are not a lonely wolf, you are not a photographer! Photography for me is the reflection of the photographer. An inner world emerges and becomes real through this. It deals with the irrational, the illusion and the subconscious. Photography is the memory. An experience. A persistence. A glimpse. A promise never kept. TPL: Has your style of photography changed since you first started? SD: I have changed my perspective and style since I started to work with photography and I still continue to reshape my personal perspective without to totally change the identity of my work. Change is part of my personal evolution, we shouldn’t be afraid of experimenting, of taking risks, of change in general. TPL: Where is your favorite place(s) to photograph? SD: As much as I love traveling, I believe that familiarity is what creates images with meaning, a story to tell and substance. Wherever I go I always end up taking pictures in the small by the sea village which I come from and live during winter. Mainly around the village port, where little stories are evolved, unnoticeable by others. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? SD: On the street, or outdoors in general, I really like to be unseen by people that's why I prefer a quiet mirrorless camera. I like wide frame from wide angle lenses but I usually work with the usual 50mm lens which is closer to what I can see. There are times again when I like to focus on details that might describe a whole way of life or a personal story. I love cold colors and the way mirrorless cameras show the color palette, with that vintage feeling they give you as well as the filters they offer you like black and white film. All these helped me very much to improve my portfolio by creating a project with coherence. TPL: Are there any projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? SD: Lately I have been experimenting with techniques mix media and double exposure, I have been trying to connect pieces of images into one image connected harmonically and even. I would like to finally carry out the exhibition I have been working on with another 26 women participating, with the title 'Under Negotiation' which I personally revised, but unfortunately was cancelled due to the Covid-19 pandemic. It is about the existence and women psychology and how every woman gets along with her body, stereotypes, motherhood, the pressure she has to put through with our worlds social standards. I dream of my first own personal exhibition, my portfolio is in progress. I hope that I will be able to have created my own photography team where I live which will show the cultural heritage of where I live and which will give the opportunity to 'Jung' people to express through photography. TPL: Have you ever been involved in the arts before you found photography? SD: When I was a little child I would always remember my mother painting with oil paint on canvas, I still have the smell of the paint and the thinner in my memory. If I close my eyes I can hear the sound of the brush on the canvas. That was my first contact, and the most magic one, within the world of Art. I remember looking at her in awe and with childhood enthusiasm. TPL: "When I am not out photographing, I (like to)… SD: I like taking photographs either way, cause it’s an obsession, a way of existence and the way of how people see the world. I revise exhibitions, write articles about photography, read about the work of modern and classic photographers and argue with my friends if a photo is eventually good or not." Sofia Dalamagka has shown us that there is beauty all around us, and that through understanding and appreciation of one another we can find a greater appreciation for our own lives. Her photography is a testament to that and an invitation to pause, reflect and celebrate the beauty of life. We encourage you to connect with Sofia and to see more of her art, and to take a second look at the world around us. VIEW SOFIA'S PORTFOLIO Sofia'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.

I trained as a textile designer at the Hornsey College of Art. I now enjoy bringing my textile trained eye into the digital world of photography. Painting with my camera lets me explore taking the use of texture, shape and form into an abstract artwork genre. Here I share images from my series "Constructed Ribbon Landscapes." ALEX RUTHERFORD I trained as a textile designer at the Hornsey College of Art. I now enjoy bringing my textile trained eye into the digital world of photography. Painting with my camera lets me explore taking the use of texture, shape and form into an abstract artwork genre. Here I share images from my series "Constructed Ribbon Landscapes." LOCATION Surrey UNITED KINGDOM CAMERA/S Nikon D5200, D5100 @ALEX.R.RUTHERFORD FEATURES // Constructed Ribbon Landscapes

ARCHAEOLOGICAL PARADOXES Living in Nice, Annette Lang uses her camera to witness life beyond the postcard views and to celebrate the beauty of everyday people. ARCHAEOLOGICAL PARADOXES August 26, 2020 INTERVIEW PHOTOGRAPHY Annette Lang INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The Mediterranean coastal town of Nice, France, is known for its beautiful azure blue waters, white sand beaches, and breathtaking views. But local photographer Annette Lang has discovered a different kind of beauty that lies beneath the postcard view, one that she has documented through her lens in a series of captivating photographs. Through her work, Annette seeks to capture the stories and moments of people’s everyday lives in a vibrant and painterly style, using the color blue to symbolize the beauty of the region’s moniker, ‘Cote d’Azur.’ As long as she can remember, Annette has been captivated by the seemingly mundane moments of everyday life and the web of cultural and personal significations that she finds within them. From an early age, she could appreciate the unique landscape she would be dropped off in and then pick up from hours later. It was this fascination that led her to pursue anthropology and cultural linguistics and eventually to her current passion for photography. Now calling Nice home, Annette uses her camera to express the life beyond postcard views and to celebrate the ever-changing beauty of the town. She loves catching those tiny fleeting moments that tell larger stories and create larger meanings. In her latest series of photographs, Annette has explored the colour blue more intensively to reveal a depth of emotion and meaning that lies beneath its depiction as ‘Cote d’Azur’. Her work is whimsical and beautiful, inviting viewers to linger in the moment and allowing them to experience the majesty of an ordinary day in Nice, that just makes you crave summer or hope it never ends, depending on which hemisphere you live in. Annette Lang’s photography is a celebration of the ordinary, a reminder that beauty is everywhere if we are willing to take the time to notice it. Through her lens, we are invited to explore the hidden stories and feelings behind everyday life in Nice and to reflect on our own experiences. Come along as we delve into Annette Lang's work and uncover all that it has to offer. The real voyage of discovery does not consist in seeking new landscapes, but in seeing it with new eyes. - Marcel Proust “Photography is exactly that mental voyage of discovery. The viewfinder, making me see beauty where there was a concrete wall before. And seeing the world through other photographers' eyes is very eye opening and always a new ticket to a discovery trip. The last decades have shown that a lot of people travel, without mentally moving away from their standards, assumptions and expectations. It's often about seeking the milder climate, the bluer sky or the wilder ocean. If that travel doesn't occur in our minds, that we risk to ultimately reinforce our prejudices. It demands an effort to step back from what we want to see to really see. I am of course working on that myself.” IN CONVERSATION WITH ANNETTE LANG THE PICTORIAL LIST: Welcome to The List Annette. Please tell us about yourself. When did you start getting interested in photography? ANNETTE LANG: I was born in rural Germany. From that childhood, I keep among other memories that of people constantly observing each other, curious to know who was doing what and somehow eager to spot something exciting. I would never have thought it at that time, but it significantly influenced my gaze upon the world around me, doping my observation skills all while skipping the potentially judgmental streak. I also left me with a deep understanding how important a local community is and that membership involves both benefiting from and contributing to it. I left Germany on a study grant for Lyon, France. I immediately loved living in a big city discovering that different areas kept and thrived on their village character. After graduating in anthropology and cultural linguistics, I spent some years in lecturing and research before transiting into the corporate world. I was lucky to work in the video game and augmented reality sector as a consulting anthropologist and intercultural advisor at the beginning of the new millenium when the whole concept of a virtual world sounded like a substance fueled utopia. Ever since, I have been working both in higher education and the corporate world, travelling for both professional and personal reasons, constantly focused on my very fundamental interest - people and cultures. At the same time, I had my three boys within four years - my by far biggest source of happiness and most exciting trip, above all for myself. Raising them on my own, it has at times been a little sporty and bumpy, chaotic and creative, but a wonderful journey. Photography has been the one element allowing me to hyphenate it all. When on a field trip or otherwise abroad, I had photos of my boys with me. I brought the big wild world back home in pictures and used them during lectures to foster curiosity and to open minds. My first conscious use of photography was during a stay in Mumbai, using the lens as both a looking glass for better understanding and celebration and beauty, and as a shield for the heartbreaking sights. I seem to be twisting a lot in this immersion - distance dichotomy with my camera. TPL: Where do you find your inspiration? AL: This is where we sort of go full circle, back to my village childhood. I find my inspiration in the ordinary life around me, the seemingly unexciting scenes of everyday life. I recently described my street photographer self as that of a truffle pig happily roaming around in the undergrowth. Nobody would call a truffle beautiful when inside the forest, nobody would even give it a second look. Once on the table, it is then hailed as a delicacy. I often feel the same about my street photography. The scene looks boring everyday tasteless and tedious, but holds all the potential for an eyeful of flavours and spices. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? AL: My photography sets out to celebrate the beauty of real life and of real people in an iconic place known for its scenic views and often instagrammable places. I operate on a much trodden territory to deter the hidden visual gems of human life. As a village child, I always feel more like a member of a community than as a a mere inhabitant. With my camera, I try to act as the liaison agent or go-between between the community that surrounds me and the viewer of the picture in a relationship of visual ambassadorship. My street photography reflects my curiosity with regard to different life paths whose bends and curves make each personal history unique and precious. The moment I press the shutter, the subjects' and my own life path cross leaving a lasting imprint on mine. Street photography is the visual translation of a brief encounter into a mute and yet luminous visual language. My pictures often, but not exclusively, show single subjects allowing me to fully concentrate on every tiny expressive element when pressing the shutter. I put people centre stage without ever exposing them. Understanding life as an often unexpected and even improbable occurrence of co-existing elements, my photography intends to freeze these in an attempt to create a seemingly paradoxical archaeology of present times. Pressing the shutter button enables me to pause the passage of time for a split second I order to shine light on the seemingly mundane, yet poetic qualities of human encounters and emotions. Comparable to a film still, I try to spur the viewer’s curiosity, imagination and empathy through my photography as to the before and after naturally attached to each frame. My aim is to offer the viewer a glimpse into a stranger’s life inviting them to uncover - in their mind’s eye - what might have been and what might be once that split second has passed. I put particular attention on making sure people in my frames are free to walk their very own path again, without my photo putting a tripping stone on their way through unrespectful exposure. The subject of my frame is a person in real life and as such deserves respect and benevolent attention. I believe that the world would be a better place of we looked beyond big figures and representations of groups to concentrate on individual people. However analytical or seemingly accurate a collective or generalization is, every single person can transcend. Through my photography, I would want people to visually meet people and thus open mental passages. To a certain extent, I would want my photos to be a visual Esperanto, allowing people to relate to a place by understanding its human dimension. The central element in my pictures are people. I am currently trying to use larger frames to see people in a wider context. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AL: For reasons I ignore, I am often more inspired by humanly accessible people than by the true masters. I somehow feel too insignificant to claim inspiration by people like Henri Cartier Bresson, Dorothea Lange or Ruth Orkin. It feels like whistling in the street and claiming Bach as an inspiration. Instagram has been truly a treasure trop of inspiration, with so many talented people having each something to learn from. Adrian Whear for composing wider frames with people having an essential role of scale and meaning as well as his portraits, Iddo Pehdazur for color and color coordination, Anna Biret for horizontal layering and particular framing, Gisèle Duprez for life scenes, Vicki Windman for her eye for surprising or touching details, Bayéré Zouzoua for soul touching black and white, and many others…The problem here is omitting people…and I’m not mentioning any of The Pictorial List team members here not to sound 'fawning'. Talking about seizing life, I am deeply impressed by Hokusai and his manga art in the original meaning of impromptu pictures. He was one of the first to consider everyday life scenes as worthy to be recorded. I prefer his sketches to his ukiyo-e. I feel inspired by orchestra music by how every single voice is needed to create that overwhelming sound. It’s similar to how a frame needs to be composed, with the photographer being the conductor. My eye sometimes is mentally on music. TPL: Has your style of photographing changed since you first started? AL: I hope so. I think I have evolved on composing the frame beyond the central subject. Looking through my pictures, they seem to 'grow' like my children – going chubby, grow in height, go chubby again, stretch again. My frames were too close, then to wide, closing in, reaching out…I’m trying to progress every day. TPL: Where is your favourite place to photograph? AL: Definitely the street. Since I gave up travelling to finance my sons’ studies, I have chosen my direct neighborhood, declaring it my favorite place. My favorite place are the little alleys and surprising corners as well as the odd Promenade shot for a soul lifting dose of blue. My photography sets out to celebrate the beauty of real life and of real people in an iconic place known for its scenic views and often instagrammable places. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? What would you say to someone wanting to start out in your genre of photography? AL: As a very spontaneous street shooter, I definitely need a very good autofocus. I still prefer shooting through the viewfinder sometimes crawling on the ground. It still feels more organic to me. My two preferred focal lengths in full frame measures are 35mm and 85mm, one for context, one for people. My advice for newcomers sounds quite paradoxical and certainly stems from my musical paths: Don’t care about technique and do care about technique. Photography is first of all about seeing for me. Seeing with your eyes and heart, hone your vision. I would suggest sitting in a street cafés for hours to see life flow by and spot the wonders. Become a truffle pig of sorts. Then put the camera to all auto and concentrate on the scene. I knows it’s deeply frowned upon among street photographers but I think it’s a walking aid to start with. At the same time, know your camera inside out. Understand how aperture, speed and ISO work together, dive into field and spot measurements. Embrace a musician’s or martial art discipline and practice your scales and kata. Beyond understanding how it works, it’s about your fingers doing their part without any of your mental energy taken away. In music, you must be able to hear the sound before you play it. It’s similar in photography. See the scene when it is about to happen. TPL: Do you prefer to photograph alone or with company? AL: I definitely am more of a lone photographer. I’m so tuned in to my environment I’m afraid conversation with me would be very dull. TPL: Have you ever been involved in the artistic world before photography? AL: I have spend a lot of time with and put a lot of passion into music. I played the flute and loved playing in the orchestra most. I never considered it as a career option, most certainly out of lack of talent. Many of my best friends are professional orchestra musicians and music played an important role in my sons' childhood, so I have the chance to spend a lot of time around music. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AL: Operating within a strict legal frame on non-authorized pictures, street photography in France requires a high level of sensitivity and personal ethics. People in the streets are not a zoo you look at through the protective bars of a zoom lens, but a community that sustains street photographers as artists through their very existence. I would love to edit a picture book on people in Nice and to realize a project inspired by JR: printing people’s faces and expose them on the walls of the city. Give part of Nice back to the population and make the unnoticed and untouristy “hoi polloi” the stars again. TPL: Are there any special projects you are currently working on? AL: In addition to its sunny, glamorous side, Nice has a lot of homeless people. I regular engage with those in my neighborhood and am impressed by how observant they are. They are the invisible or the voluntarily overlooked, but they see us. I am thinking about a project that would equip them with cameras and have them document how they see us. It is only a budding idea right now. TPL: “When I am not out photographing, I (like to)... AL: Read. And cook. Sit in cafés and observe people. And listen to music." Annette's mission in life is an inspiring one, and her love of capturing the beauty of everyday life beyond postcard-perfect views is a reminder to us all to take a step back and appreciate the little things. Her work is a testament to the joys that come with looking at life through the lens of creativity and exploration. Connect with Annette and be inspired by her zest for life. VIEW ANNETTE'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

LONELY URBAN PEOPLE Belinda Corney shows us her love of light, shadow and reflections, capturing solitary people within their environment. LONELY URBAN PEOPLE August 24, 2020 INTERVIEW PHOTOGRAPHY Belinda Corney INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Have you ever wondered what it takes to turn a love of photography into a life-long passion? For Australian-born Belinda Corney, the answer is simple – a single street photography workshop in London. With just one introduction to the art form, Belinda was hooked and has never looked back. Originally from the beautiful Whitsunday region of Queensland, Australia, Belinda relocated to London in 2017 and discovered street photography. Finding an artistic outlet she had been missing for a long time, Belinda has since explored the city with her camera and captured images that show her love of light, shadow and reflections. From captivating solo figures to silhouettes in the unique light of the city, Belinda’s work captures the beauty of human interaction within their environment. This collection of images is a testament to her eye for detail and appreciation of interesting shapes. Join us as we explore Belinda’s journey in street photography, learning along the way just how she has managed to turn an experiment into a lifelong passion. It's an honour to be able to make a good photograph of anyone, and it’s a great privilege. It's the only tool that will stop time itself. - Jill Freedman “I watched the documentary EVERYBODY STREET for the first time last year and Jill Freedman was one of the photographers featured and what she said stuck with me. This whole documentary is full of some pretty inspirational and motivating stuff, I highly recommend it to anyone who has an interest in documentary or street photography!” IN CONVERSATION WITH BELINDA CORNEY THE PICTORIAL LIST: Belinda please tell us about yourself. When did you start getting interested in photography? BELINDA CORNEY: I am originally from Airlie Beach, Australia and moved to London in 2004. I currently work as a Graphic Designer and photography is a much loved hobby. I have always enjoyed taking photos but had no specific genre I gravitated towards. What piqued my interest in photography was a 2003 documentary called Dreamlives about photographers Trent Parke and Narelle Autio. You can also follow their work @chillioctopus. I got caught up in their passion and exuberance for chasing the amazing Australian light and that perfect moment. This documentary inspired me to go out buy my first SLR camera, then I came to London and this is when my love of shadow and light started to translate into my photography. My interest in street photography came much later after participating in a workshop with Joshua K. Jackson @joshkjack and Craig Whitehead @sixstreetunder in 2017. This workshop instantly kick-started my love of getting out and photographing the amazing city I live in. TPL: Where do you find your inspiration? BC: Instagram, YouTube, documentaries, books, but mostly when I am out and about exploring London, you see a scene or location and it inspires you to create something from it. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? BC: I am drawn to the interesting shapes that shadow and light create, as well as capturing the interaction of human beings, usually solitary or in silhouette, within their environment. I do love a sense of mystery, it developed in college and I haven’t been able to shake it! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BC: The artists Edward Hopper and Jeffrey Smart were big influences during college. I was drawn to how they portray lonely urban vistas and isolated individuals. Magnum photographer Trent Parke who I mentioned earlier. I especially love his Dream/Life series. I was drawn to how he has captured the franticness of city life, but how it also conveys a sense of isolation that can come with living in a large city. There are also so many great photographers who inspire me on a daily basis via Instagram: Mavis CW - @onechapter, Mark Fearnley - @mark.fearnley, Josh Edgoose - @spicy.meatball, Eric Kogan - @erickogan, Nina Welch-Kling - @ninakling, Mo Barzegar - @mo.barzegar, Hiroshi - @hiro_ig101, Sara Melhuish - @swendeluk to name a few...there are so many! TPL: Has your style of shooting changed since you first started? BC: A little. I am still drawn to light and shadow, but I do try to take a few more typically candid shots here and there looking for interesting moments and faces. I am not very good at it but it is fun! TPL: Where is your favourite place to photograph? BC: I love brutalist architecture, so Barbican and the Southbank Centre in London are favourite spots of mine, I enjoy capturing moments in these spaces and along the Southbank itself. I also love the Tate Modern which is another iconic landmark in London, it’s a beautiful building and space to photograph in and around. I am drawn to the interesting shapes that shadow and light create, as well as capturing the interaction of human beings, usually solitary or in silhouette, within their environment. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? What would you say to someone wanting to start out in your genre of photography? BC: I have the Fujifilm X-T2. I find the tactile nature of the dials and aperture ring helped me fully understand the relationship between ISO, shutter speed and aperture, but the rest is on me! My 50mm f2 is my preferred lens at the moment. I am trying to use my 23mm f2 more but I do neglect it as jumping between the two can be quite jarring due to the difference in focal length! For someone wanting to start out in street photography, I would say always have your camera with you. Also, have your camera on and the lens cap off so it is ready to use, you don't want to be fumbling with your camera and miss the shot! It is only since I have been doing this that I have noticed my photography style improve. You will end up taking a lot of photos and only one or two may be good out of the hundreds you do take, but when you get that shot you are proud of it makes all your efforts worthwhile and encourages to you keep going. TPL: Do you prefer to photograph alone or with friends? BC: I find photographing on my own more relaxing, you can just wander and lose yourself in a walk around London. But I do enjoy meeting up with fellow photographers every now and then, it’s fun to have a walk and a chat and bounce ideas and compositions of each other. I have met some lovely photographers through photo walks and meetups here in London. TPL: Have you ever been involved in the artistic world before photography? BC: I studied Visual Arts majoring in illustration and printmaking in college, I also used to draw a lot, but when I came to London I just stopped. TPL: Are there any special projects you are currently working on? BC: Not at the moment. I have thought about creating a zine, I am a terrible procrastinator though! TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? BC: I am not great at setting myself goals, but in five years I hope to be back in Australia. I would love to set up a studio of some sort and get back into my printmaking, perhaps even creating prints from photos I have taken over the years. TPL: “When I am not out photographing, I (like to)... Meet up with friends, walk, but I normally always have my camera with me when I do this! I do love to lose myself in a good book or TV series, I have been doing a lot of this during lockdown." Belinda Corney is an inspiring photographer who has mastered the art of capturing light, shadows, and reflections in her portraits. We are thankful for the journey she has shared with us, and we encourage everyone to explore her fascinating portfolio. Connect with Belinda and get inspired by her beautiful photography by using the links below. VIEW BELINDA'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

THE HUMAN PRESENCE Maximilian Haidacher is a visual artist who shows through his images, how humans have reshaped and utilised space in our civilised world. THE HUMAN PRESENCE March 1, 2020 INTERVIEW PHOTOGRAPHY Maximilian Haidacher INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Maximilian Haidacher, an Austrian visual artist and photographer, provides us with a thought-provoking insight into the human presence through his captivating images. By purposely omitting any human figures, he demonstrates the powerful ways in which humans have reshaped and utilised the space around us. Although we may not be able to see them, the footprints of humanity are everywhere. Through his work, Maximilian Haidacher gives us a glimpse into the impact our species has had on the world and the ever-growing human presence that is all around us. “As a teenager, I was magically drawn to that 35mm film camera on our living room shelf, so I picked it up - and never put it down again ever since.” IN CONVERSATION WITH MAXIMILIAN HAIDACHER THE PICTORIAL LIST: Maximilian please tell us where do you find your inspiration? MAXIMILIAN HAIDACHER: Travelling, nature, magazines, the internet and social media. TPL: Has your style of shooting changed since you first started? MH: Definitely. When you start out, you have no idea what's your style or where you should be going. You basically just try to reshoot the clichés you have in your head, the notion of a "good" photograph. Only after a couple of hundred useless rolls of film you start to understand where you have to go. TPL: Where is your favourite place to photograph? MH: I love to take long walks on my own, discovering new neighbourhoods and quarters of the city. That's how I find most of my motifs - by chance. TPL: Do you have any favourite artists of significance to you that you would like to share with us? MH: Certainly the German Neue Sachlichkeit movement and the Düsseldorfer Schule, with artists like Bernd and Hilla Becher, Andreas Gursky, Thomas Ruff, Thomas Struth and Candida Höfer. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? MH: Well, I actually do think it is important. That doesn't mean you have to have the best and most expensive equipment out there. But my advice to someone just starting out would be to put away your phone and get a cheap used 35mm camera or some DSLR with a fast prime lens. The simpler the better. A machine that can just do one thing - taking pictures. Then take it with you all the time and learn to see the world through that camera. Find out what's best for you and stop comparing yourself to others. TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? MH: You should be a visual person. You should love to look around and see things. Concerning the genre of architecture photography, it helps to be very precise and accurate, and you probably should be interested in the technical aspects of cameras and photography. TPL: Have you ever been involved in the artistic world before photography? MH: I tried some painting and drawing, but I wasn't very talented. Photography has always been the best way to express myself...where I felt at home. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MH: I'm always working on a couple of projects simultaneously, but it's too early to tell right now which one is going to be good enough to go public with. But all of them are dealing with architecture in some way. TPL: “If I wasn't photographing... MH: I'd be an architect or a musician.” Maximilian Haidacher's photographic works are truly inspiring. Maximilian's photography is a reminder of how much work and creativity humankind have put into reshaping and utilizing space. In omitting the humans from the images, Maximilian encourages us to reflect on our relationship with the planet, and how we contribute to its transformation. To further explore Maximilian's work and gain insight into his creative vision, connect with him using the links below. VIEW MAXIMILIAN'S PORTFOLIO Maximilian's website >>> Maximilian's 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.