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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 Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE 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." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

LIFE LESSONS Never knowing what he is going to capture is what continually thrills and challenges Hugh Rawson about street photography. LIFE LESSONS April 19, 2020 INTERVIEW PHOTOGRAPHY Hugh Rawson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Hugh Rawson has been a street photographer for years, a passion that has taken him on an unforgettable journey full of unique and captivating moments. Hugh has explored the streets of London and the south-east of England, unapologetically capturing humanity and its beauty through his lens. But what is the secret to his success? Rawson believes that his experience as a primary school headteacher gives him the tools to understand and anticipate human behaviour, allowing him to capture images that may otherwise have been missed. Yet, Rawson never knows what he is going to capture, and it is this thrill of the unknown that keeps him going. So come with us as we explore the life and work of Hugh Rawson – street photographer and primary school headteacher – to learn why street photography provides equilibrium in his busy and demanding life. “Initially I was just snapping away at things that caught my eye with my iPhone and Hipstamatic - although I did have a brief flirtation with film back in the eighties. I then moved onto a Fuji bridge camera but I didn’t know what I wanted to shoot so I just shot anything and everything. For the last four years the focus has been very much on the street and still with Fuji's.” IN CONVERSATION WITH HUGH RAWSON THE PICTORIAL LIST: Hugh, where do you find your inspiration? HUGH RAWSON: I think the joy of street photography is that inspiration is all around you. However, I also think that it takes some knowledge in order too, to know where to look, and what to look at. The work of other photographers, especially the greats, is always an eye opener. I love time spent with a pile of photo books. TPL: Has your style of photography changed since you first started? HR: I suppose that I have moved away from catching almost random moments on the street to be better at catching specific moments which may be driven by an anticipated movement or by the light in a scene. TPL: Do you have a favourite place(s) to go photograph? HR: The place I keep returning to is Soho, London. It’s a happy hunting ground for me with so much going on and it’s ever changing. The South Bank and the City also have their appeal. I love shooting in France, Paris and the south are wonderful. I’m a big fan of shooting in and around cafes and bars and French culture does that so well. TPL: What is your favourite quote that resonates with you the most? HR: Wow - good question. So many to choose from so I’ll have two. “I put my brain under my pillow when I shoot. I shoot with my heart and my stomach.” - Anders Petersen. And then one from Miles Davis which is about music but can equally be applied to putting in the hours in any art form. “Sometimes you have to play a long time to be able to play like yourself." TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? HR: Sergio Larrain, Fred Herzog, Ernst Haas, Saul Leiter, Alex Webb and, of course, Henri Cartier-Bresson - but that list can change at any moment. I like the abstraction and geometry of photographers like Fan Ho, but also the surrealism of Cartier-Bresson and the humanity of Sergio Larrain. I love the layers in Alex Webb’s work and the use of colour in Herzog, Leiter and Haas. Most of the time it's like fishing in a polluted stream and all I catch is rubbish...every so often I catch a gem. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? HR: To an extent. There comes a point where you actually have to get out and shoot, rather than spend time watching reviews of gear. Any modern camera is good enough to shoot street photos. The kit available to the ordinary person today is far better than anything that Cartier-Bresson or any of the legends had yet they were able to catch incredible moments. However, most people shooting street will want to be discreet and disappear into the shadows or the crowd - not in a creepy way but so that they don’t impact upon the scene they are capturing. This means that generally they will want a small camera and lens set up. There are exceptions of course and rules are there to bend, but I’d struggle with a giant DSLR and a 400mm lens in Soho. I often shoot from the hip so a 23mm (35mm equivalent) lens is perfect for most of what I do. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone in your genre? HR: It varies hugely depending on what you want to shoot. I don’t have the patience to stand for two hours in a cold field for one image of a sunset so landscape is never going to be my thing. For street photography you have to like people, be able to empathise and, perhaps most importantly, be able to anticipate what is going to happen - be it a turn of the head followed by a kiss, or an exhalation of smoke. My advice would be get some comfortable shoes because you are going to rack up the miles; learn from the greats; go with the light; and study the people. TPL: Have you ever been involved in the art world before photography? HR: In the 1980’s I was in a band called SLAB! You can find a few tracks like “Mars on Ice” and Parallax Avenue” on You Tube. I also wrote a few stories for children and had an agent for my writing though never actually succeeded in getting anything published. It’s so important as a human being to have a creative outlet. It’s what sets us above the beasts. It keeps me on the right track. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? HR: I wish I could say there was. I’m not really a project person and in some crazy way I feel that that makes me less of a photographer. I don’t go out looking or anything specific. I just like to explore an area and see what I can catch... TPL: "If I wasn't photographing what would I be doing?... HR: Music; writing; or just out on my bike." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am a photographer, designer and producer. I have worked in several advertising agencies as a digital art director until I started a solo career and later entered photography, my great passion. I am the founder and agent of several sociocultural groups. NEGO JÚNIOR I am a photographer, designer and producer. I have worked in several advertising agencies as a digital art director until I started a solo career and later entered photography, my great passion. I am the founder and agent of several sociocultural groups. LOCATION São Paulo BRAZIL CAMERA/S Canon T3i, 80D, RP WEBSITE http://www.negojunior.com.br/ @NEGOJUNIOR_ FEATURES // A-luz-cinante

MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. MINIMALIST REVERIE March 30, 2024 INTERVIEW PHOTOGRAPHY Nazanin Davari INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Nazanin Davari, whose roots delve deep into the vibrant soils of Tehran, Iran, weaves her narrative through the lens of her camera with a distinctly creative flair. With a bachelor's degree in graphics and a graduate degree in photography from Karnameh Institute, Nazanin has established herself as an accomplished artist in her home country. Nazanin’s work has been recognized and featured in numerous exhibitions and publications, such as Glamour Affair, MP Magazine, Articulate, and photography books, in countries such as Italy, Scotland, Denmark, and Iran. She has also received a diploma of honor for her conceptual minimalism photography at the 35 Awards in Russia. In the realm of visual poetry, Nazanin wields her camera as a painter wields their brush. With a minimalist's touch and a dreamer's vision, she crafts scenes that whisper tales of liberation and flight. Her photographs — a silent ballet, a freeze-frame of freedom — invite the beholder into a serene, untouched world. There's an honesty to her artistry, a bare soul in each frame. For Nazanin, photography is not just capturing moments; it is the quest of her inner visions, a scavenger hunt in the physical realm that begins in the depths of her imagination. Embark on an enchanting odyssey as we unravel the mysteries nestled within the mind of Nazanin Davari. Traverse the labyrinth of her imagination, where each photo serves as a portal to myriad tales untold. Witness the synthesis of shadow and light in her photographic tapestries, stitched with the threads of her distinctive viewpoint. Let her lens guide you through an exploration of profundity and splendor, capturing the essence of ephemeral moments with perpetual grace. “Images form in my mind before they are recorded. My mental images and dreams make me look for them in the outside world and in the world of reality, search and carefully look and search until I can record it. They are mostly my daydreaming and mental imagery.” IN CONVERSATION WITH NAZANIN DAVARI THE PICTORIAL LIST: Hello Nazanin, we are looking forward to learning more about you and your inspiring work. Please tell us what inspired you to pick up a camera and become a photographer. NAZANIN DAVARI: My interest in art and especially the art of photography made me take this branch of art seriously and follow it. Also, my strong vision and careful look, paying attention to the living environment as well as the pristine nature and the environment around me and the works of the artists of my country have inspired me. TPL: Did your background in graphics contribute to your unique approach to photography? NAZANIN: Yes, very much. Graphic art has been influential and inspiring for me. TPL: Tell us what it is like growing up and living in Tehran, Iran. How has your home country influenced your artistic vision? NAZANIN: Iranian people are artistic, hardworking and tireless people, and every part of my land is full of beauty, genius and art. These things have been effective in my artistic vision. TPL: What are some of the challenges that you have faced as a female photographer in Iran? Were you able to overcome them? What did you learn from them? What are the advantages? NAZANIN: As a female photographer in Iran, I freely engage in the photography profession and there are no restrictions. Women continue their social activities freely. I have not faced any challenges or obstacles in this field. TPL: What is the significance of the recurring themes of liberation, flight, freedom, and silence in your work? What do you want the viewer to see...what is their 'take away'? NAZANIN: I am interested in making the audience understand and get involved in the feeling of the photo at the moment, of course, the titles I chose for my works are one word and the audience is completely free to take the photos. The audience can get involved in the photo and engage in mental imagery with me. The perception of my photos and my view of my works is free. Iranian people are artistic, hardworking and tireless people, and every part of my land is full of beauty, genius and art. TPL: If you could photograph alongside another photographer for a day, who would that be? Why? What would you want to share with them? NAZANIN: The great teacher Abbas Kiarostami, who had a special look at the minimal style in photography. If they were present, I would be very happy to use and learn from their experiences. 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? NAZANIN: Looking at the works of the best photographers of Iran and the world such as: Reza deqati, Abbas Attar, Kaveh Golestan, Abbas Kiarostami, Sebastiao Salgado, and Steve McCurry. TPL: What was the first camera you ever held in your hand, brought to your eye, and released a shutter on? What is the camera you use now and your preferred focal length? Is there anything on Nazanin's equipment wishlist? NAZANIN: My first camera was a Minolta brand analog camera and I started with black and white film and developed my own photos in the darkroom. Now I use a Canon 30D camera with a 55mm lens, Canon 7D and an iPhone 13. I don't have any special equipment in mind. TPL: As artists we grow and evolve our process and practice, how have you evolved yours? NAZANIN: By studying academic and university education, travel, innate genius and special vision. And seeing the works of great artists. I continue my process and I am still looking for progress and growth every day in this regard. TPL: What are some of your photography goals? Where do you hope to see yourself in 3-5 years? NAZANIN: My goal in photography is to convey my feelings, aesthetics, my special vision and my mental images to the viewer. TPL: “When I am not out photographing, I (like to)… NAZANIN: I love... Study and to be in nature. PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

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

THE STREET IS A CACTUS Hakim Boulouiz tells stories around poetry, paradox and mystery by using all the layers involved in the construction of urban drama. THE STREET IS A CACTUS October 12, 2020 INTERVIEW PHOTOGRAPHY Hakim Boulouiz INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Are you fascinated by the art of capturing moments in the urban sprawl? Do you love to explore the chaotic yet beautiful spaces and uncover their hidden stories? Then you should meet Hakim Boulouiz, a professional photographer, writer and expert on urban aesthetics who lives and works in Geneva. He is passionate about cities, entranced by their order and disorder, and seeks to tell tales of poetry, paradox and mystery through his work. Drawing inspiration from colours, light, shadows, prints, walls and bodies, he believes that every ordinary moment can be transformed into an extraordinary one with patient observation, creativity and a lens. To Hakim, street photography is a kind of visual recycling - like a sculptor forming shapes out of scrap metal or a designer giving waste new life. He believes beauty can be found everywhere, if you are willing to take the time to look. His favourite approach is to get up close to his subjects using a fixed wide-angle lens. He’ll show you how to see, how to take your time and believe in your art. Join us as we explore Hakim Boulouiz’s incredible journey through the streets, discovering the ephemeral language of each city fragment and casting light on how even the most mundane things can be made extraordinary. “The best painter of a cactus is the one who forgets that he is drawing a cactus, focusing only on the lines, shadows and shapes. This one will have the fairest, strongest, most sincere cactus because the artist puts aside his prejudices and decides to simply look at the thing in front of him. You have to do the same with the street. The street is a cactus!” IN CONVERSATION WITH HAKIM BOULOUIZ THE PICTORIAL LIST: Hakim please tell us about yourself. When did you start getting interested in photography? HAKIM BOULOUIZ: I'm a professional photographer and an expert in urban aesthetics based in Switzerland. After receiving a diploma in architecture, a diploma in film-making, and a master's degree in land planning, I completed a PhD at the University of Geneva, analysing the mutual inspiration between urban modernity and the art of short film. Besides that, I have written a book about that, "Désirs de rue" published recently by MétisPresses, under Voltige libre Collection. TPL: Where do you find your inspiration to create? HB: I find inspiration on a terrace of a café that I don't know, in meditation, in nature during a walk in search of mushrooms. I find inspiration when I'm stuck in traffic jams, or when I'm talking with very old people near the entrance of a supermarket. I also find inspiration online, on Tik Tok, on Behance, by reading an autobiography, trying something new: a new dish, a new language...The most important thing is to have the courage to note ideas which pass like a flash. Believe me, it's this discipline which will make the difference! Creative people are methodical and well organised people, contrary to popular belief. The draft mind only gives the beginning of a sentence that remains endless. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? HB: I would like to express surrealism. My goal is to make the surreal from the real. The surrealist image, would have an anchorage in the concrete and would in this way be able to express the surrealist that emerges from the everyday. Surrealist image is not anti-realistic, but takes its departure from the real in order to express real fantasies by unreal images. Surrealism is not a mechanical description that reflects reality as it is, but it is an artistic work that does not ignore reality. The surreal image passes from the man seen in his exterior, to the man seen in his interior. Surreal photography does not revolutionise, it subverts, that is to say, it does not reverse the classical images, it breaks them to install new ones. It is in this way creative. The sublime (and not the beautiful) is no longer the prerogative of enchanted forests, but is found at the corner of every street, in the layout and wear of cities. It is, therefore first an experience of existence and afterwards transcribed in an artistic form. I consider this photographic surrealism not a school in itself, but rather a way of being, a way of doing things. It is a concept, an interpretation of the elements of the city and its contents. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? HB: I analyse, of course, the work of some great photographers, living and dead, but I also nourish my approach by other forms of expression, such as poetry and short literature. Cinema inspires me enormously, especially German Expressionism, young independent Asian cinema and Pier Paolo Pasolini. However, painting remains essential in photography. I love Magritte, Caravaggio, Brueghel, etc. They remain great masters for all visual arts. TPL: Where is your favourite place to photograph? HB: When I go somewhere, my first goal is to be able in the end to build a complete series about something special. Of course, it's not always possible, but it's important to think like that to stay motivated. In general, I'm looking to photograph the usual and unusual life (that's what I call 'street'). It can be outside or inside. I love crowded places because they can be very inspiring for my kind of work. I'm always looking for colours, contrast, layers, action, movement, markets, celebrations, fascinating characters and bizarre scenes. I have no preference of place or cities, everything is possible everywhere. Sometimes there are places that are theoretically very good, but if you are there at the wrong time of the day under bad light, or with equipment that is not adequate for the situation, it is of no use to you and you've wasted the day. The urban scene is full of paradox: friendly and dangerous, beautiful and ugly, cheerful and sad. Through photography, I seek to raise questions about the fragility and the complexity of human life inside that paradox. TPL: Do you prefer to photograph alone or with friends? HB: It all depends on friends...and contexts. The problem is when I photograph I stop talking and I'm in full concentration! So, if I'm with friends whom I haven't seen for a long time, I prefer not to take pictures, so to take advantage of their presence (it's the minimum of politeness). It is very difficult to find the right friends to photograph the street with. This is because we do not all have the same walking rhythms and the same tastes for the different places. One of the solutions is to go on our own ways and make regular appointments every hour or 45 minutes, for example. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? HB: My biggest challenge while on the street is to be able to get closer to the subject (I believe on immersion with it). I use both analogue and digital cameras, but only with fixed lenses of 28mm, 35mm, 50mm and 85mm. Sometimes with two cameras, like a war photographer in a peaceful place, and also for being rapid while working. I am very sensitive to the size of the camera I use. The size determines the style. The best cameras are the ones you can carry with you everywhere, so you are always ready to grab the moment. For beginners in street photography I recommend not a new camera but rather quite simply to make the decision to see the world again beyond its prejudices and to scrutinise it with a new eye which brings a new vision for the others. The best painter of a cactus is the one who forgets that he is drawing a cactus, focusing only on the lines, shadows and shapes. This one will have the fairest, strongest, most sincere cactus because the artist puts aside his prejudices and decides to simply look at the thing in front of him. You have to do the same with the street. The street is a cactus! TPL: Have you ever been involved in the artistic world before photography? HB: I have always been involved in fine art. When I was young I did a lot of drawing and painting. Then, I became an architect. During my studies I was in contact with several artistic expressions in the service of this discipline. Afterwards, I studied cinema and I became a film director...little by little I decided to professionalise myself in photography, this is where I am completely immersed today, and I find myself completely in this fascinating art. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? HB: Today I photograph a lot commercially and at the same time I have long-term personal projects, such as Wax Dolls or Fresnel that I had started for a few years now. My goal is to release books from that with publishers, when the projects are finished, even if it never happens! Leonardo da Vinci said: "Art is never finished, only abandoned." TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? HB: The urban scene is full of paradox: friendly and dangerous, beautiful and ugly, cheerful and sad. Through photography, I seek to raise questions about the fragility and the complexity of human life inside that paradox. The best image resides in an ability to convey moments of reflection to the man himself and clear a path that might make sense to him. My goal is to inspire the viewer and share with him a piece of the city and a piece of life. I'm a photographer because I would like to tell stories. I think photography is a fantastic medium for that. I'm a photographer because I would like to communicate beyond the barriers of languages and cultures. I am a photographer because I would like people to stop and think. I am convinced that powerful images can motivate the observer to ask questions and take actions that lead to changes. For me, this is the greatest goal of an artist, a utopia that motivates me every moment. In five years I see myself exhibiting more my work and showing it in several places, to give lectures and share my experiences with the public. TPL: “When I am not out photographing, I (like to)… HB: When I'm not making pictures, I like to listen to music, visit exhibitions, stroll in flea markets and I watch a good movie at least once a week, the cinema remains a very good visual training. I'm also a dad of a lovely little boy who is starting to amaze me with his questions and his own view of the world. I spend a lot of time playing with him. Now he also has his camera and I believe that we will soon start shooting together, if he agrees...Don't forget, freedom of choice is a very sacred thing, isn't it?” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

Based in the Ruhr Area in Germany, I am working as a teacher at a primary school. In my free time I love to draw or to take pictures with my Leica. I have an enormous passion for fine arts since I was little. In my presented series I want to show the beauty of the often underestimated region, I am living in. The Ruhr Area has a huge industrial tradition. I edit all my pictures in black and white, because I'd like to reduce my objects to their essentials. Furthermore I have the opportunity to focus on contrasts, shapes, textures by working like this. SARAH LUHSE Based in the Ruhr Area in Germany, I am working as a teacher at a primary school. In my free time I love to draw or to take pictures with my Leica. I have an enormous passion for fine arts since I was little. In my presented series I want to show the beauty of the often underestimated region, I am living in. The Ruhr Area has a huge industrial tradition. I edit all my pictures in black and white, because I'd like to reduce my objects to their essentials. Furthermore I have the opportunity to focus on contrasts, shapes, textures by working like this. LOCATION Ruhr GERMANY CAMERA/S Leica Q2 FEATURES // Ruhr Perspectives

A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. A VOYAGE OF DISCOVERY March 16, 2025 INTERVIEW PHOTOGRAPHY Fanja Hubers INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the subtle interplay of light and shadow, Fanja Hubers’s approach to photography unfolds from a foundation of personal experience, introspection, and the act of observation. Inspired by her father’s use of the camera, Fanja’s journey began in 1982 with her first camera, a Konica Pop, a camera that became an extension of her daily life. Since then, she has maintained an unwavering commitment to carrying a camera wherever she goes, capturing the moments that connect her inner world with the external environment. Her work is not only a documentation of what she sees but a continuous exploration of how personal history, memory, and emotion intersect with visual storytelling. In A Voyage of Discovery, Fanja shifts her focus inward, using photography to explore a time of vulnerability and a deep, personal reimagining of her creative process. This project serves as a meditation on identity, questioning what it means to be both a photographer and a human being. Influenced by Indian photographer Raghubir Singh’s belief that photography reflects both the inner and outer worlds, Fanja seeks to bridge these dimensions through her images. The result is a body of work that does not merely record the visible but seeks to reveal the unseen — emotional states, fleeting thoughts, and the deeper layers of human experience. Beyond this project, Fanja’s broader portfolio includes Empty Faces, One Moment in Time, People as They Are, Rediscover the First Moment of Seeing, and The Simple Beauty of Nature. Each series represents an extension of her visual inquiry, whether through candid street scenes, studies of human presence, or explorations of momentary ephemeral beauty. Her approach remains consistent in its attention to atmosphere and the emotions embedded within the act of seeing. Her work has gained recognition in international exhibitions, including the Women Street Photographers Annual Exhibition in New York (2024), the Rome Art Expo (2023), and Photography in the Visual Culture in Palermo (2023). She has also been published in Quadro Magazine, Mina Art Magazine, and other photography journals, further establishing her presence in contemporary photographic conversation and visual culture. This interview examines the foundations of Fanja’s artistic development, her evolving relationship with photography, and the ways in which her images serve as both documentation and personal reflection. Through this conversation, we explore how she constructs meaning through visual language, how her experiences shape her perspective, and what continues to drive her pursuit of capturing life through her camera. “I started capturing and recording events, especially on weekends and summers on our boat. Over time, I learned more about the technical aspects and bought my first DSLR camera during my student years. I increasingly photographed street scenes, everyday life, and funny moments. In recent years, I have come to see photography more as an art form to express emotions.” IN CONVERSATION WITH FANJA HUBERS THE PICTORIAL LIST: Your father’s influence played a role in your early interest in photography. Are there any specific lessons or philosophies he passed down that you still carry in your work today? FANJA: Besides the fact that he also used to shoot in black and white and had a certain calmness in his compositions, it was mainly the technical aspect that stood out. When I passed my final exams, he took me to Paris. Because of his fear of heights, he didn’t dare go to the top of the Eiffel Tower. On the first floor, he explained how his camera (a DSLR) worked, and I was allowed to go to the top alone to take photos. From that moment on, I wanted a camera that I could set entirely manually. TPL: How has growing up in Utrecht, the Netherlands, shaped your visual perspective and artistic approach? FANJA: Utrecht is a beautiful city full of life. But in other cities, I felt more anonymous, and I sought that out more often—until recent years. After visiting many other cities, I have come to appreciate Utrecht even more. TPL: You emphasize carrying a camera with you at all times — is there ever a moment where you feel capturing an image would interfere with truly experiencing it? FANJA: I noticed that during my first trip to India. I had to be careful not to experience the entire journey through my viewfinder. That’s when I decided to occasionally put my camera away so I could fully experience the trip. And I know you always have to pay attention to that. TPL: Your project ‘A Voyage of Discovery’ is deeply personal, exploring vulnerability and self-reinvention. What inspired this particular shift inward, and how did the creative process evolve throughout the project? FANJA: In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. I wanted to express this in a creative way because I was increasingly discovering that photography is not just a way to document life but also an art form to express emotions. I was (and still am) quite insecure about this, but with the feedback of an inspiring photographer, I gradually gained the confidence to share more of my work. Since I started photographing with more emotion, I have also gained recognition for my work. TPL: Do you see your photography as an act of storytelling, or is it more about capturing fleeting emotions and moments in time? FANJA: Both. Photography has become more of an art form and a passion. But I must not forget to capture memories, such as my son growing up. For me, the essence of photography is still about capturing moments so that later, you can relive memories when looking back. In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. TPL: Your work captures the subtleties of human presence. Do you feel that photography has changed the way you see people in everyday life? FANJA: People don’t change, but how you see them might. This is also strongly dependent on how I feel that day. TPL: Raghubir Singh’s philosophy on photography bridging inner and outer worlds is a key inspiration for you. What other artists inspire you and your photography and why? FANJA: Valerie Jardin — I really love the romance in her photos. Elliot Erwitt—for his humorous images. But also, Anton Corbijn, when it comes to capturing emotions. TPL: How does seeing your photography in print — whether in exhibitions, magazines, or books — change your relationship with the images compared to viewing them digitally? And what are your thoughts on the role of printed media in an increasingly digital world? FANJA: I think both are important. Digitally sharing is a good way to eventually end up in an exhibition or a book. And that is ultimately more valuable than the fleeting nature of the online world. But social media also allows me to meet others from around the world, from whom I can learn and gain inspiration. TPL: As you look to the future, how do you see your photography evolving? Are there particular themes, techniques, or approaches you are eager to explore? What are your aspirations for your photography, and where do you hope to see yourself creatively in the next 3–5 years? FANJA: I would like to further develop the series ‘A Voyage of Discovery,’ and ultimately, it is a dream of mine to have a solo exhibition in my own country, so that friends and family can visit it as well. I hope I can continue like this and that I will retain my passion for photography. TPL: What would we find in your camera bag? Is there anything on your WishList? FANJA: I have no camera bag, just one camera, the Fuji x100vi, around my neck. For a backup camera, family shoots and video I have a Fuji S10 with some interchangeable lenses. But for 99% I use the Fuji X100vi. TPL: “When I am not out photographing, I (like to)… FANJA: ...Enjoy life with family and friends, my work as an educator, and play the piano.” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. DAYDREAM IN MEMORIES OF YOUTH January 12, 2025 INTERVIEW PHOTOGRAPHY Stephanie Duprie Routh INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE We have the unique opportunity to share an evocatively profound new publication by photographer Stephanie Duprie Routh. Stephanie is an Austin-based artist and photographer, who explores womanhood, memory, and identity through her authentic and expressive visual storytelling. Her latest work, “Daydream in Memories of Youth”, serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. Stephanie’s photographs do more than capture moments, they create textured narratives that reveal dualities between past and present, exterior and interior, beauty and aging. Collaborating with poet Dalya Sachs and olfactory artist Lula Curioca, Stephanie brings her viewers into a multisensory dialogue that enriches her exploration of womanhood’s many facets. Dalya Sachs’s “Grammar of Possibility” series complements the images with double-entendre poetry, adding another layer of meaning, while Lula Curioca’s custom fragrance for the project deepens the immersive experience, highlighting scent as a subtle yet powerful reminder of sensuality and memory. Educated in Environmental Design at Texas A&M University and Photography at the Savannah College of Art and Design, Stephanie’s journey from architecture and public service to the art world is reflected in her precise, singular approach to photography. Stephanie’s work has been widely recognized, appearing in permanent collections and exhibitions across the globe, and is sought after for its distinctive, introspective quality. She avoids digital manipulations like double exposure, relying solely on her camera to capture scenes with authenticity. Her preference for a darker palette lends a quiet intensity to her work. Through “Daydream in Memories of Youth”, Stephanie Duprie Routh invites viewers to contemplate beauty, resilience, and nostalgia, offering a nuanced portrait of the self that bridges youthful allure with the wisdom of age. Her artistry continues to earn her accolades and inspire audiences, positioning her as a compelling voice in contemporary conceptual photography. “What I need to think about or examine in my own life subconsciously emerges in my work. After about four years of image-making, I started to see the questions of sensuality and aging. I began the editing process to achieve a tight, cohesive portfolio specific to these ideas. Six years later Daydreams started its public journey in the world via an exhibit and the book.” IN CONVERSATION WITH STEPHANIE DUPRIE ROUTH THE PICTORIAL LIST: In “Daydream in Memories of Youth,” you delve into themes of sensuality, memory, and identity. Could you share how this idea emerged and what drove you to explore it visually? STEPHANIE DUPRIE ROUTH: In 2018, my personal life was unusually complicated. I was navigating death and mortality, both in the literal and metaphorical senses. This prompted me to take stock in who I was, both currently and in the past, whether there were regrets, and who I wanted to be from then on. Fast forward to December 2018 in Miami: I was in a taxi at midnight looking out of the window and saw a woman walking the opposite way through construction scaffolding. I quickly snapped 2-3 frames. When I downloaded the images, I thought ‘she looks like a ghost of my past’ — someone I used to easily be but also someone I still identified with and wanted to be in my future. That was the first image of the project although I didn’t know it then. I photograph without specific ideas in mind and then look at the images I’ve made over time to see what my camera is seeing. What I need to think about or examine in my own life subconsciously emerges in my work. After about four years of image-making, I started to see the questions of sensuality and aging. I began the editing process to achieve a tight, cohesive portfolio specific to these ideas. Six years later Daydreams started its public journey in the world via an exhibit and the book. TPL: Your work often portrays a layered view of womanhood and self-reflection. What aspects of womanhood do you find most compelling to represent, and how do you approach expressing these ideas through photography? STEPHANIE: Being a woman embodies many emotional, physical, and psychological characteristics. The aspects I find most important to discuss are those connecting the mind and body. In Daydreams, the specific topics are sensuality and sexual empowerment. The expression of these attributes are often culturally deflated or suppressed. Creating this work is my attempt to remove surrounding taboos. To express these ideas in photography, I create imagery that invites the viewer to desire, remember, or long for intimate moments. I want to initiate a dialogue that broadens the definition of what is socially and publicly acceptable. TPL: You mentioned a desire to convey "the duplicity of beauty and age." How do you feel this tension influences or enriches the viewer's experience of sensuality in your work? STEPHANIE: As I get older, I notice how much society, particularly in the U.S., values beauty and equates it with youth. Sensuality tends to be overlooked more often than not. Many people who connect with my work are at a stage in life where they are seen as wise rather than beautiful or sensual, regardless of how they look externally or feel internally. Our sensual nature doesn’t disappear—it stays with us through memory or personality. The images in this work focus on the beauty of youth to purposefully ask the viewers to reflect on their own sensuality. TPL: You uniquely capture all your imagery with a single click, without relying on double exposure, Photoshop, or AI. What challenges or benefits does this technique present, and how does it align with your artistic philosophy? STEPHANIE: Most assume I use software interventions, so I have recently started telling people how I make the images. The way I photograph is born out of personal preference. I do not like to sit at a computer for hours on end; I would rather be in the world photographing so one-click, in-camera is my way of staying outside. This technique creates images that encourage the viewer to slow down and spend more time with the work. It helps them ask questions or be perplexed by what they see. Some of my images are complex and can be confusing. This is an artistic thumbprint because I can be the same: complex and confusing. TPL: With a preference for a darker palette, how do you feel this color choice enhances the emotional or thematic undertones of your work, especially in projects exploring intimacy and nostalgia? STEPHANIE: When considering intimate moments, I think of introspection or of quiet, dark, dimly lit spaces. “Under the cover of night” or “a kiss stolen in the dark” are societal phrases that refer to vulnerability or clandestine moments. I associate the past with darkness, and I think society does too. When we talk about “the light at the end of the tunnel” we are moving forward out of the darkness towards a new concept. When we talk about leaving things behind, we say it ‘fades into the past’. These linguistic references are translated into a darker palette that helps transport the viewer into more intimate places, reinforcing the underlying theme of women as sensual beings. TPL: You have chosen to publish your book with different colored covers, please explain the importance of the change and the meaning of the colors you have chosen. STEPHANIE: The covers of the book are specific references to a place. I wanted to have a distinction between the four locations where the exhibit will be shown: Austin, Texas (Sep 2024-Oct 2024), New York (April 2025-May 2025), Mexico City and California (both in 2025). When I began the project, the pink/green combination of Austin kept appearing in my life. I believe the universe will give you signs you can choose to accept or ignore. Austin is in a surge of growth and although it has been around for 185 years, it feels like it is being re-born into a different kind of city. The pink cover is a double entendre: birth and flesh. The interior green Pantone wash references the vibrant outdoor spirit of Austin. The green also represents the breadbasket of the U.S. and one of the most productive agricultural regions in the world: California. Dalya Sachs, who splits her time between California and Texas, has a vineyard and gardens which are lush and verdant. A green cover for California seemed fitting. I wanted to have a connection between the books, so the Austin (pink) and California (green) covers share the same colors between the two. For Mexico, I posed a few color options and through conversation with Lula Curioca, based in Mexico City, I decided the maroon cover represents the country in a more provocative way than the red of their flag. The Pantone wash inside is maroon, which is shared by the New York City cover, which is black. New York has long been referenced as ‘Gotham city’, a nod to the gothic, dark and gritty. Ironically, Washington Irving coined New York as Gotham City in his publication Salmagundi, which is where the Daydreams work will be exhibited in New York! The Mexico and New York covers share maroon and black as their joiners. Even after all this thought, people buy books based on what they like and not what I think! I hope my vulnerability opens the door for others to grasp what they want or feel without being shamed into thinking sensuality is something to oppress. TPL: You collaborated with Dalya Sachs, who contributed poetry, and Lula Curioca, who crafted a unique scent. What inspired you to bring in these specific sensory and literary elements, and how do they enhance the themes of your project? STEPHANIE: Women are sophisticated creatures. Mimicking their multifaceted nature, I felt this project would be better received if people could use more than one element to ingest the work. I am a visual person. Having words opens the project to others who absorb through hearing. (There is a video element in the exhibit where the poems are read in conjunction with the imagery.) Psychological projects such as this one need words to expand the work and help direct viewers towards the inherent themes. Including a scent was serendipity. I found Lula in an internet rabbit hole I was diving into and realized she had already collaborated with artists. Smell is one of the most powerful triggers for nostalgia and the Daydreams project leans heavily in that direction. I wanted the exhibit to take viewers to an intimate, remembered place and a scent can move people’s minds quickly. TPL: In "The Grammar of Possibility," Dalya uses grammar to create double meanings and enrich your images. How did this approach add layers to your visual storytelling, and did it influence your perception of your own work? STEPHANIE: When I began working with Dalya, we spent days uninterrupted going through each image, talking about what I felt the image was about and what I wanted to convey. Then I walked away with no direction to Dalya about what to write. I did not read the finished work until every poem was complete. Because of the process chosen, her words didn’t influence how I made the imagery or the edit of the work. However, I do think she crawled into my headspace and made verbal what I am trying to convey visually. TPL: With scent being such a powerful, intangible sense, how did Lula’s olfactory creation impact the way you and your viewers experience "Daydream in Memories of Youth"? STEPHANIE: I had the almost the same process with Lula: a lot of discussion upfront with no direction to her about how to proceed. We met to sniff molecules so she could hone in on what I wanted to convey with the work. Then, she created a powerful scent that triggers so many emotions and memories for me. I could live inside the scent all day, every day. Art is subjective and not everyone feels the same about the smell. What the olfactory creation does do, however, is stir a visceral reaction in people and that’s good art. TPL: You describe sensuality as multi-faceted and timeless in your work. How has your own experience with sensuality and self-perception evolved, and how does that influence what you want viewers to feel? STEPHANIE: Daydreams is one of several projects I am working on that fall under the ‘women-sensuality’ umbrella. As I explore these intersections, the more I recognize I use my camera to address my own sensuality and identity. These psychological projects are my personal therapy. This has and continues to empower me. I have more confidence to publicly own who I am and what I want. I hope my vulnerability opens the door for others to grasp what they want or feel without being shamed into thinking sensuality is something to oppress. TPL: You have mentioned the power of nostalgia in your work. How do you balance capturing the past and presenting it alongside contemporary narratives in a way that feels relatable to a modern audience? STEPHANIE: Looking back is a way to simultaneously remember and go forward. The nostalgia in my projects is merely a springboard. I use the past as guideposts to commemorate and/or direct the viewer towards an idea. It is the viewer who (subconsciously) moves the image into their present-day life. In this way, the viewer remembers, relates to something personal, and then desires to keep (or forget) it in the present moment or make it happen again in the future. Time is fluid. The boundaries between past, present, and future are not fixed but interconnected, allowing for a more flexible understanding of moments and memories. Rather than creating a balance that feels relatable, I tried to create a nebulous space that allows everyone to move freely through their own time continuum. By not offering a clearly defined or universally relatable experience, I sought a space that feels abstract and versatile. Each person is encouraged to interpret and navigate the work uniquely, based on their personal sense of time and experiences. It prioritizes individual reflection and freedom over shared structure. TPL: “Daydream in Memories of Youth” has been recognized internationally. How do you envision your work’s legacy, especially with its emphasis on preserving the beauty of authenticity, memory, and age? STEPHANIE: The Daydreams project explores a topic that is timeless. Beauty, memories, and aging have been considered long before I created this work, and they will be studied indefinitely. I am hopeful that future discussions of my work reflect its authenticity and its attempt to bring sensuality while aging into conversation without judgment. At some point, the entire Daydreams project will become a memory and will age just as I do. What will be left is a beautiful book alongside those memories. No matter my age today — I will always be younger than my future self. As such, the portfolio becomes a self-fulfilling prophecy of the project itself: a daydream in memories of youth. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details.

I am a photojournalist and a street photographer. I was born in Malta in 1966 and from a young age took an interest in photography with the only available medium at the time which was film. When I was 18 I joined the armed forces. In 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the Official Photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I began a career as a freelance photographer and as a photojournalist for a leading newspaper. I have been shooting street photography for over ten years, organising street photography workshops since 2015. I also lecture locally on Adobe Lightroom and Photoshop. In November 2016 I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020 Japan. MARTIN AGIUS I am a photojournalist and a street photographer. I was born in Malta in 1966 and from a young age took an interest in photography with the only available medium at the time which was film. When I was 18 I joined the armed forces. In 2008 I decided to take my photography to another level by enrolling for courses organised by the local photographic societies. In July 2009, soon after passing an accredited course in photography, I was appointed the Official Photographer for the Armed Forces of Malta. On retiring from the Armed Forces of Malta in 2010, I began a career as a freelance photographer and as a photojournalist for a leading newspaper. I have been shooting street photography for over ten years, organising street photography workshops since 2015. I also lecture locally on Adobe Lightroom and Photoshop. In November 2016 I organised my first solo exhibition called ‘Malta Street Life’ and also have had my works exhibited in Egypt, Greece, Italy, the United Kingdom, and in 2020 Japan. LOCATION Rabat MALTA CAMERA/S Canon R6 WEBSITE https://martinagius.com/ @MARTINAGIUS_STREETPHOTOGRAPHY FEATURES // City Double Life

I am increasingly enjoying the moment on the streets and love to immerse myself in it. Always looking for motifs. Slowly strolling around and observing silently without evaluating the situation. The focus on the essentials to separate the important from the unimportant. At the end of the day, I like to be surprised by the captured scenes and motifs. SVEN SVENSØN I am increasingly enjoying the moment on the streets and love to immerse myself in it. Always looking for motifs. Slowly strolling around and observing silently without evaluating the situation. The focus on the essentials to separate the important from the unimportant. At the end of the day, I like to be surprised by the captured scenes and motifs. LOCATION Hamburg GERMANY CAMERA/S Ricoh G3 WEBSITE https://www.svensonphoto.com/ @SVENSONPHOTO FEATURES // Creative Solutions

For me, photography is more than a medium; it is oxygen. It offers renewal when life feels heavy, clarity when thought becomes clouded, and connection where distance exists. On the street, I find both unpredictability and rhythm, a balance between patience and instinct. Each frame becomes a negotiation between what can be composed and what must simply be accepted as it arrives. My practice now extends toward long-form documentary work, engaging with the social, political, and cultural textures of contemporary life. The camera allows me to move from personal meditation into broader storytelling, weaving together images that speak of both individual experience and collective memory. At its core, my photography is an attempt to preserve the unrepeatable. SUVAM SAHA For me, photography is more than a medium; it is oxygen. It offers renewal when life feels heavy, clarity when thought becomes clouded, and connection where distance exists. On the street, I find both unpredictability and rhythm, a balance between patience and instinct. Each frame becomes a negotiation between what can be composed and what must simply be accepted as it arrives. My practice now extends toward long-form documentary work, engaging with the social, political, and cultural textures of contemporary life. The camera allows me to move from personal meditation into broader storytelling, weaving together images that speak of both individual experience and collective memory. At its core, my photography is an attempt to preserve the unrepeatable. LOCATION Howrah INDIA CAMERA/S Nikon Z5 WEBSITE https://flickr.com/photos/106557156@N07/ @SUVAM2099 FEATURES // The Pulse of the Street