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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. STREETS OF KOLKATA June 29, 2025 INTERVIEW PHOTOGRAPHY Ayanava Sil INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE On the street, where chaos and calm constantly collide, Ayanava Sil finds his sanctuary. A photographer based in Kolkata, Ayanava explores the social landscape of his home city with observational patience. His approach is shaped by his experience as a self-taught artist, working in the margins of a fast-paced professional life. What distinguishes Ayanava’s work is not only its compositional discipline, but its sociocultural depth. His photographs invite us to look beyond the surface, capturing the street not as scenery, but as a space of layered human experience. There is often an emerging tension in Ayanava’s photography between presence and absence – people in motion, glimpsed through windows, reflected in rain-slicked streets, suspended between shadow and light, or the hushed remain of spaces echoing with someone just departed. He frequently uses leading lines and framing devices like windows, arches, or doorways to invite the viewer directly into the scene, allowing the photograph to speak for itself. These visual metaphors deepen the documentary quality of the work, aligning it more with humanist photography than street photography. He also demonstrates a refined command of natural light, often using it to isolate subjects or heighten compositional contrasts. His color palette is rich but never oversaturated, drawing attention to tonal harmony and texture. When working in black and white, his attention to tonal gradation enhances the emotional weight of his subjects and foregrounds structure over distraction. This has earned Ayanava both national and international recognition, with his work featured in exhibitions and photography forums around the world. One of the high points of his career came when renowned street photographer Joel Meyerowitz praised one of his photos, calling it “the kind of picture I felt I could live with.”— a statement that captures the lasting and relatable quality of Ayanava’s work. His role as curator of the Streets of Calcutta Instagram platform expands his photographic practice into one of community storytelling. Rather than using the platform solely to showcase his own work, Ayanava curates it as a living archive of Kolkata’s street life, shaped by many voices. It’s a gesture that reflects his belief in photography not only as personal expression but as shared memory and civic engagement. In this conversation, Ayanava Sil shares his reflections on navigating the streets of Kolkata with a camera, the ethics of photographing strangers, and how sustained attention to public life can reveal deeper emotional and social truths. His work offers thoughtful inquiry into how we move, wait, relate, and exist — together and alone — in shared spaces. “Street photography has been a truly transformative journey for me. It has helped me discover so much about myself, not just as a photographer, but as a human being. Through this process, I have grown personally on a deeper level. It has taught me patience. I have learned to wait for the right moment, to accept that not every shot will be perfect and to keep trying even when things don’t go as planned. It has also made me more resilient, helping me deal with disappointment and stay open to new experiences. This practice has made me less judgmental and far more empathetic. It has nurtured a deeper sense of tolerance and compassion, both on the streets and in my personal life. Ultimately, street photography has helped me grow into a more thoughtful version of myself. It continues to shape how I connect with others and with myself on a daily basis, making me a better and more aware person than I was before I picked up the camera. It is not just about documenting life, it is about learning, understanding and connecting in ways I never imagined.” IN CONVERSATION WITH AYANAVA SIL THE PICTORIAL LIST: Welcome to The List Ayanava! Can you recall the moment or experience that first sparked your interest in photography? What drew you to pick up a camera in the first place? AYANAVA: Honestly, I never had a strong interest in photography at the beginning. It all began with a curiosity about the camera itself. I was fascinated by how this little device worked and what kind of images it could create. Over time, that curiosity turned into genuine interest. Like in many households, I was the one always handed the camera during family gatherings and celebrations. I didn’t think much of it back then, I just tried to capture moments as they happened. No fancy techniques, no artistic plans. I just tried to frame memories as they happened, keeping things natural and real. But when people started appreciating those photos, something clicked. That quiet joy of capturing real moments drew me back to the camera again and again. And once that spark was lit, there was no turning back. TPL: As a self-taught photographer, what were your first learning resources or influences? Did you follow specific photographers, books, or platforms that shaped your vision? AYANAVA: As my curiosity about the camera grew, so did my interest in photography. I wanted to understand how cameras really worked, so I began exploring the settings on my own and turned to YouTube for guidance and to learn the technical side of photography. That is when I discovered DigitalRev TV around 2012, a channel that opened the door to a world I didn’t even know existed—street photography. Before that, I had no idea what street photography was. I never imagined I would enjoy walking around the streets just to take photos. Back then, Kai Wong was the host of the channel and he had this funny, witty style of reviewing cameras while roaming the streets of Hong Kong and capturing candid moments. Those images intrigued me, I was mesmerized by the raw emotion and storytelling in those images. I found myself hooked on his videos, watching one after another and before I knew it, I was stepping into the world of street photography myself. But the real turning point came when I stumbled upon the work of Soumya Shankar Ghosal, a street photographer from Kolkata. His photos struck a deep chord within me. What made it special was that his photographs were taken on the very streets I knew so well, the same streets I walked every day. That local connection really hit me. It felt unreal that such powerful images could come from such familiar places. His work inspired me deeply and made me see my own city in a new light. Over time, I also learned from legendary photographers like Henri Cartier-Bresson, Raghubir Singh, and Alex Webb. Their mastery of composition, use of color, and talent for layering scenes taught me to see the streets from a different perspective. Beyond these big names, I found inspiration in the work of local photographers too, people whose talent often goes unnoticed but whose passion and creativity speaks volume. In the end, it’s been a mix of inspiration from others and my own hands-on experience that has shaped my vision as a photographer. TPL: What were some of the biggest challenges you faced in the beginning — technically, creatively, or personally — and how did you work through them? AYANAVA: In the beginning, the biggest challenges I faced were more creative and personal. Creatively, I often struggled with what to photograph and what to leave out. I didn’t know how to choose characters, how to approach a scene or how to tell if a moment had the potential to become a strong story. I also didn’t know how to anticipate what was coming next, which is really important in street photography. On a personal level, being an introvert, it felt awkward and uncomfortable to step out into the streets and take photos of strangers. I was very conscious of people noticing me or questioning what I was doing. It made me hesitant and challenging at first. But I worked through these challenges simply by going out regularly and practicing, I learned how to blend into the crowd, how to observe without being noticed, how to approach a scene naturally and how to sense when a moment might turn into a meaningful image. And in the end, I didn’t give up and that quiet hunger for those one or two meaningful photographs I could bring home each time is what still drives me today. Looking back, I see that every challenge was a lesson in disguise. Making mistakes, experimenting and pushing myself out of my comfort zone helped me grow as a photographer. TPL: At what point did photography shift from a hobby to something more vital — a way of seeing, or even a necessity in your life? AYANAVA: As I began to enjoy the process more, I found myself becoming deeply attached to it. Photography slowly turned into something much bigger than a hobby; it became an essential part of my life and a new way of seeing the world. The real shift happened when I started noticing small details that others often overlooked, moments of light on a wall, a fleeting expression or the quiet beauty of everyday life. I began to search for potential frames everywhere, even when I didn’t have a camera with me. Balancing a completely different professional career with a heavily involved personal passion can be overwhelming. In those moments, photography becomes my stress buster. It is my creative escape, a way to stay connected to a world beyond spreadsheets and emails. It brings me calm and clarity in the middle of life’s chaos. Without even realizing it, photography became the force that keeps me grounded, inspires me and helps me keep going. I feel incredibly grateful to have it as a steady companion on my journey and it’s the one thing I have stuck with for the longest time. It feels less like a choice and more like something I was always meant to do. TPL: There’s a quiet tension in your work between visibility and invisibility. How intentional is this theme, and how do you cultivate that mood through framing or timing? AYANAVA: That quiet tension between visibility and invisibility is very intentional in my work. I often shoot with what I call an “anticipating mind”, I try to sense what is about to unfold, rather than just reacting to what is already in front of me. I don’t always want everything in the frame to be clear or obvious. I want viewers to pause, to look again and to discover something for themselves. I always try to freeze those moments that might have gone unnoticed if I hadn’t been there. To capture them, I rely heavily on clean composition and timing. I often wait in those in-between moments, when things feel slightly off or unresolved. I let the scene settle, wait for the characters to fall into place and allow the moment to mature. That’s where the magic happens and that is the moment when I press the shutter and make the image. I also tend to choose subjects or scenes that resonate with me or catch me by surprise. I am drawn to quiet thoughtful moments, perhaps because I see a part of myself in them. Whether it’s a lone figure in a crowd, a still moment in a chaotic scene, or a poetic play of light. My photographs are ultimately a reflection of who I am. They offer a glimpse into how I see and experience life. Photography brings me calm and clarity in the middle of life’s chaos. TPL: How does the pace and texture of urban life in Kolkata shape your visual narratives, both in form and content? How do you navigate ethical representation when working within your own cultural context? AYANAVA: For me, Kolkata isn’t just a city, it’s home. I was born and raised here and over the years it has become like an old friend, growing and evolving with me. There is something magical about the way life unfolds in Kolkata, the vibrant chaos, the sudden silences, the never-ending festivals and the countless stories hidden in the everyday. Kolkata is a city of contrasts, slow and fast, loud and quiet, old and new, all existing at the same time. These layers shape the way I see the world and deeply influence both the form and content of my work. Whether it is children playing cricket in a narrow lane, the early morning rush at the flower market or the soft golden light over the Ganga. The city has taught me to see beauty in the ordinary. It has shaped not only my photography but also who I am as a person. When it comes to ethical representation, I always try to approach my subjects with honesty and respect. I have always avoided showing poverty or pain as just an “interesting frame.” Instead, I focus on capturing the warmth, dignity, culture and quiet beauty of everyday life. Through my images, I want to show the world not just how Kolkata looks, but how it feels. TPL: Do you see your work as a form of cultural preservation, especially in a rapidly changing urban environment? AYANAVA: I don’t know if I can officially call it “Cultural Preservation” but yes, over time, I have realized that my photographs are quietly preserving pieces of the past. As I have been shooting for years, I have seen buildings disappear, places change completely, and certain traditions or rituals fade away. Some of the things I captured no longer exist today. Looking back at those photos now, I feel like they have become quiet witnesses to the changes around us. They hold memories of a city that is constantly evolving. Even though it was not my original intention, but my work has ended up documenting moments, places and cultural details that may soon be forgotten. In this way, photography becomes more than just capturing the present, it is also about holding on to what is slipping away. Photography lets me freeze time, not just for myself but for anyone who looks at my images in the future. And that, I think, is a special kind of preservation. TPL: Have there been moments when you chose not to take a photograph — either out of respect or discomfort — and why? AYANAVA: Yes, there have definitely been moments when I chose not to take a photograph, and I believe those moments are just as important as the ones I do capture. I think it is important to recognize when not to click, even if the scene feels tempting or visually striking. If someone tells me not to take their picture, I always respect their choice. I simply smile, nod and walk away. Photography, for me, is not about invading someone’s space. If I ever feel that taking a photo might make someone uncomfortable, I step back. I often put myself in the subject’s position and ask myself if I would want to be photographed in the same scenario. That helps me make one of the most powerful decisions a photographer can make — to not press the shutter. In the end, being a photographer is not just about capturing images, it is also about being sensitive to people and their surroundings. Respect and empathy are just as important as creativity and technique. TPL: Can you walk us through what’s typically in your photography bag? Are there tools or objects you never leave behind, even if they’re not technical? Anything on your WishList? AYANAVA: I like to keep my photography setup simple. What you will find in my bag is a mix of essentials and little comforts. Of course, I always have my camera, usually just one body, the Fujifilm X-T200 with the 15–45mm kit lens, a water bottle and without fail, my umbrella. That umbrella feels like a loyal companion, protecting me from unpredictable weather, whether it is sudden rain or harsh sunlight. I never leave home without it. On some days, I don’t carry a bag at all. I just grab my OnePlus 12 mobile phone and step out, it has now become my primary camera for daily shooting. I actually love shooting with my phone, it is light, fast and doesn’t draw attention. Modern phones are powerful enough to capture incredible images and they give me the creative freedom to shoot quickly and discreetly, blending seamlessly into my surroundings and capturing life as it happens. As for my wishlist, I do hope to own a Sony mirrorless camera sometime in the near future. TPL: Where do you imagine yourself creatively in the next 3 to 5 years? Is there something you want to achieve in this time frame? AYANAVA: To be honest, I have never been someone who makes strict creative plans. I have always preferred to go with the flow. Even now, I don’t have a clear idea of what I will do next. Due to professional commitments, I am living in a different city and haven’t been shooting as much as I used to. But even when I am not actively photographing, I make it a point to revisit my old archives. Looking through my past work is deeply rewarding, it helps me reflect, learn from past mistakes and discover new ways to grow. Looking ahead, what I hope to focus on, though I am not sure how much I will be able to achieve—is developing my long-term photography projects. I have been photographing for over a decade and have built a body of work around certain themes and stories. What I truly want now is to bring those moments together and shape them into thoughtful, well-connected visual stories. It is a challenging process that demands patience and self-reflection, but it is a journey I am genuinely excited to take. If I can turn those scattered moments into something meaningful, that would feel like a real achievement. TPL: When you are not working or out exploring the streets creating your photography, what else could we find Ayanava doing? AYANAVA: When I am not working or out with my camera, I enjoy doing a mix of things that help me relax and recharge. Music is a big part of my day; I love listening to different genres depending on my mood. I am also a big fan of larger-than-life movies, especially those that immerses you in a whole new world. I enjoy long walks, not always with the goal of taking photos but simply to observe life around me. I also love exploring new food spots, trying different local dishes and sometimes revisiting the same place just for the comfort of a favorite meal. Another thing I often do is go back and look through my older photos. It’s a great way to reflect on how far I have come and sometimes, it even sparks new ideas. And of course, when all else fails, there’s nothing better than a good nap. In a way, even when I am not actively photographing, I am still observing and still visualizing. That’s just who I am, with a camera or without. 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.

TELLING STORIES Melita Vangelatou wants to tell stories through her photography, immersing herself in her environment on foot and bicycle. TELLING STORIES November 20, 2020 INTERVIEW PHOTOGRAPHY Melita Vangelatou INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Greek photographer Melita Vangelatou was born in Alexandria and has moved around the world throughout her life. Currently based in Casablanca, Morocco, she enjoys documenting the cultures and lives of people around her, immersing herself in her environment on foot and by bicycle. She usually likes to get to know her subjects before taking their picture, and then prefers candid shots that respect her subjects. She wants to capture emotions and tell stories with her photography. Melita's work has been exhibited internationally and been published in photobooks. She spoke to us about what drives her passion for photography and how she approaches it. “Every country I have lived in had something different to offer, and I tried to get to know it through observing its customs and its people and studying its history. I feel privileged and enriched to have had this experience. Even though there is an emotional price to pay, I feel that what you gain far outweighs it. I now live in Morocco, which is the country I have lived longest in and I feel a close affinity to.” IN CONVERSATION WITH MELITA VANGELATOU THE PICTORIAL LIST: Melita please tell us about yourself. How did you become interested in photography? MELITA VANGELATOU: I am Greek, born and raised in Alexandria. My parents moved to Greece when I was a teenager and that is where I later met my husband, who is Greek, born and raised in Africa. Together we have lived in different countries and travelled extensively. Ever since I can remember I have loved photography. When we were in school, I used my brother's cameras, first a Yashica and then a Canon. He also had a darkroom in our basement where we would go and print. Later on in my life, after I studied photography, I had my own fully equipped darkroom. In school I was the class photographer. When I got married, my family, and my friends knew that I always had my camera with me. I loved taking family pictures, since it was a subject readily available, but at the same time pictures of the places where we lived and visited. TPL: Do you have a favourite quote or saying that especially resonates with you? MV: One quote that really resonates with me is Alfred Eisenstaedt’s: “It is more important to click with people than to click the shutter.” I always like to speak to people, to get to know them, to understand what they are doing and why and then to take a picture. I never take pictures that I feel will hurt people, even if I think that it is the best picture. On the island of Cephalonia, where I am right now, I love to take photos of fishermen. I spend time around them, asking them where they go fishing, if they go every day, year round, if they have a family and how hard it is. I know their names and they know mine, and this way they just ignore my camera when I am around them. I always end up by buying fish too! This island is famous for its Loggerhead turtles. I like following the researchers who walk around the island observing the turtles, taking them out of the water to measure them, inspect them and tag them. The other quote I like is Robert Kappa’s: "If your pictures are not good enough you are not close enough." The lens I have always used and still do is a 75 mm. I never use long telephotos because I always like getting close to my subject. There are endless quotes that I like and think about when I photograph, like Ansel Adams: "A good photograph is knowing where to stand." TPL: Where do you find your inspiration? Do you have a favourite place to photograph? MV: I like to shoot on the street, where there is a lot going on, so I find inspiration. I just shoot haphazardly in the beginning, and then I slowly get to know the country, and I look for specific things. In Morocco, for example I know my favourite places to shoot. I like shooting around the 'hammams' or the traditional bakers or in markets where there is a lot of activity. TPL: Tell us about your project 'Casablanca' you submitted to us. MV: Casablanca is where I live for most of the year, so obviously I am very interested in the city and its people. In order to be able to communicate with the people and understand them I start by learning the language. The inhabitants of Casablanca, the 'Casaoui' are very impressed and like it very much when you speak their language because it is a language spoken only in Morocco and very few foreigners try to master it. By speaking the language I break the first barrier. I can then move a step further and try understanding their traditions and customs. The fact that the weather is mild year round and that all activities take place out of doors is an extra bonus for me. The project 'Casablanca' is a very long one because I am studying a very complicated subject. So with the pandemic I narrowed down that project a bit to focus on 'Casablanca During the Pandemic'. By studying the 'Casaoui' during this state of lockdown, I could see more facets of their behavior, like how much they protect their children and how once the lockdown ended and the city was in a 'state of emergency' the rules had to be enforced because nobody observed them. TPL: These days, when we see scenes of people gathering together, the fear of the Covid-19 pandemic is always present in our minds. In what way are people in Morocco affected by it, and how did it affect your photography? MV: During lockdown everyone in Casablanca behaved and did exactly as they were told. Often there were police cars going around enforcing the rules primarily in working class districts and in shantytowns because people there live in the streets. They keep their doors open, sometimes covering them with a cloth so that they can go in and out easily. When lockdown ended, it was as though people were free to do whatever they wanted. The carts were out again selling goods and people swarmed around them, and gathered on the beaches, making things dangerous again. I still went out to photograph wearing a mask, but it became harder as I had to keep my distance from others. The fact that I am always on my bike with my camera makes it easier for me to take pictures. When I locate an area with interesting things happening, I just tie up my bike and walk around. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? MV: I always include people in my photography. I like capturing emotions and I like photos that tell a story. People who see my photos often tell me that they enjoy 'travelling' with me through my stories. I observe people, and when I foresee that something interesting is about to happen, I follow them. The anticipation excites me, and I don’t want them to see me for fear that my presence will make them change their behaviour. It is more important to click with people than to click the shutter. - Alfred Eisenstaedt TPL: Do you have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it a combination of both? MV: It is both. Sometimes I just take my camera and go out on the street hoping to find something that will grab my attention and I always do. When I am travelling somewhere I have a very general concept in mind, which is to capture the life there, but I also have sub-concepts about very specific aspects of the people’s lives. I am very interested in weddings and religious festivities and how they are celebrated in different countries. In Morocco, for example, the application of 'henna', which is a reddish brown dye used to decorate the body, is very important and is used to mark different stages in a woman’s life. One day I learned that a young girl that I knew would have henna designs applied to her hands and feet to celebrate the fact that she would be going to the notary public to sign her marriage certificate, in other words to get married. I accompanied her, together with her mother and grandmother that day, and I also was invited to her wedding celebration, where again I photographed the much more grandiose henna ceremony there. I am now waiting to photograph the henna ceremony at the birth of her child. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? MV: The photographers that I really admire are Henri Cartier-Bresson, Fan Ho, Robert Doisneau and Constantine Manos, a Greek photographer living in the United States. I look at their photography and hope to be influenced by their great style. I know that for them, framing and timing was extremely important, and for me these two elements are the essence of photography. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? MV: My first film camera was a small, manual Canon with a 75mm lens. Many years after I acquired two medium format Mamiya, where I added a panoramic adaptor on one, which gave me a format that few photographers used, so it was interesting. Still, every ten shots I had to change the film and I soon realised that these cameras were the worst choice for me. Apart from being bulky they slowed my street photography so much that I missed many shots. My brother offered me my first digital Canon and that is what drove me to stop using film and go into digital photography. In the beginning I found the images too sharp. Now I would never switch back to film. One day I told my husband that my dream had always been to own a Leica. He got me my first one for my birthday and from then on I have used only Leica cameras. The first thing I like about them is their size. Photographing in a country like Morocco, where people like to keep their privacy is easier with such an inconspicuous camera. Also it is simple and doesn’t have all the frills that other cameras possess, but that I never use. Of course the lenses have the best image quality and finally it is less bulky for when I am travelling. The lens I always use is a 75mm, that was actually always my preferred lens, which helps me in street photography as I don’t have to get extremely close to people. TPL: Have you been involved in the arts before or other than photography? MV: Photography was always my passion. I like all forms of art but have never been involved in any. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? MV: My goals are to continue exhibiting, I prefer museums, but there are other interesting venues too, and to make photography books. That is what I love doing and that is what I want to keep doing. I would also enjoy talking about photography and communicating my ideas, but I haven't seriously thought about where and how. TPL: "When I am not out photographing, I like to... MV: When I am not actually taking pictures there are still so many things around photography that I like doing. I read and look at photography and art books, I visit exhibitions and museums and also make photography books, both family and travel. I always liked sports and was a maniac tennis player. I have for some reason lost interest in tennis, but I now scuba dive, swim and bike wherever I have to go, always with my Jack Russell Zippy. This is my major form of exercise because in the countries where I live I can do it all year round. My family and extended family are very important to me and I love spending time with them." 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.

PICTORIAL STORY MYSTIC VOYAGE January 15, 2021 PICTORIAL STORY Photography and story by Ulka Chauhan Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Ulka Chauhan is originally from India, and has lived in Boston, New York and Cape Town. Currently she is dividing her time between Zurich and Bombay. Apart from photographing life on the streets of Zurich, she enjoys documenting the rich tapestry of colours, character and culture of all countries she visits. Although Ulka has travelled extensively, no place has touched her quite like Varanasi, the spiritual capital of India. In the pre-pandemic month of January, she set out to capture the spirit of Varanasi, and it was the energy of the people and the place that captured her. It was a transformative journey and through her pictorial story Ulka transports us on a mystic voyage to this timeless city of life and eternity. “Varanasi is older than history, older than tradition, older even than legend and looks twice as old as all of them put together.” - Mark Twain Situated on the banks of holy river Ganga, Varanasi is believed to be the oldest living city in the world. For centuries, the mystique of this place has been attracting pilgrims from across India as well as abroad. People come to worship and offer their prayers to the river Goddess – Mother Ganga . A dip in the holy waters is said to wash away all sins. There are more than 80 ghats (steps) leading down to the river. Some ghats are dedicated to worship and others that are dedicated to cremation. It is believed that if anyone dies in Varanasi, they will attain salvation and freedom from the cycle of birth and rebirth. At the crack of dawn each day, the ghats are gently peppered with people performing their rituals. The quietude of the early morning, the soft sunlight glistening over the holy waters, the reflections of the row boats docked along the riverbank are both calming and invigorating at the same time. A monk recites the sacred texts as part of his morning prayers and meditation. The serenity of the moment…the quietude of the early morning, the soft sunlight glistening over the holy waters and the reflections of the row boats docked along the riverbanks; makes one realise the value of reflection and looking within. A school of novice monks perform sun salutations and other yoga asanas as part of their morning routine. The young monks belong to the Brahmin caste, and they are training to become brahmin priests and to follow a spiritual life. The daily practice of morning yoga on the ghats is an essential part of their training to lead a disciplined life and to stay connected with the energy of the earth. Some pilgrims take a morning dip in Ganga to cleanse their body, mind and soul. Others wash their clothes in her waters. It is believed that those who bathe in the sacred waters will be free of all sins and attain salvation. Worshippers make their way down the narrow alleyways of the old city to make their offering at one of the countless temples. It is estimated that there are 23,000 temples in Varanasi. Making an offering of flowers and coconut at a temple or a shrine is a way for the worshippers to pay their respect and stay devoted to God. A story of Varanasi is not complete without speaking of its holy men. Varanasi is a spiritual home for India’s Sadhus. These men are revered as representatives of the gods and sometimes worshipped as gods themselves. They are ascetic wanderers respected for their holiness and feared for their curses. They willfully renounce themselves of all earthly possession and dedicate their lives to the pursuit of spiritual liberation. Apart from the Sadhus, Varanasi is also home to Buddhist monks at the Nepalese temple and Hindu pandits (priests) who perform the Ganga Aarti ceremony. An ash smeared Naga Sadhu who was sitting around a bonfire. His renunciation of all belonging is a sharp contrast to the big city lifestyles of short-lived materialistic pleasures. Another Sadhu clad in red, the intensity of his gaze exuded inner strength and resilience, and he appeared to be detached from his surroundings. At the Nepalese Temple, there was an elderly monk soaking in some afternoon sun in the temple courtyard. The ultimate ceremony of all takes place in Varanasi every evening as dusk descends. Throngs of pilgrims gather on row boats docked along the water’s edge and along the steps of the ghats to watch the Ganga Aarti. As part of the ceremony, the pandits circle glittering oil lamps, shells and tufts of horse tail in a clockwise direction. This is accompanied by chants and songs in praise of the mother Ganga. As the ceremony draws to a close, the pandits sprinkle petals of marigolds in the air. The sight of the showering saffron is so magical, it is as if blessings are raining down from the heavens above. © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan © Ulka Chauhan '© Ulka Chauhan © Ulka Chauhan © Ulka Chauhan Ulka Chauhan's journey to Varanasi was both transformational and unforgettable. Ulka captures the essence of this timeless city in her photos, which tell the story of its people and culture as well as its spiritual nature. Join Ulka on her many journeys and explore the beauty of her visual storytelling. view Ulka's portfolio Read an interview with Ulka >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

Photography for me is a medium for the appreciation of all things art. I tend to treat photography as a way to create visual poetry. I am primarily a black and white shooter. Black and white photography is a love letter to photography. However, I do dabble in colour when colour is there to be consumed. Addicted to chasing light, shadows, architecture marvels, human expression, and whatever else that fancies my visual appetite. I am learning everyday and continue to enhance my exposure to all things visual arts as much as I can. If I was to describe my style in one word it would be “moody”. ZEESHAN KHAN Photography for me is a medium for the appreciation of all things art. I tend to treat photography as a way to create visual poetry. I am primarily a black and white shooter. Black and white photography is a love letter to photography. However, I do dabble in colour when colour is there to be consumed. Addicted to chasing light, shadows, architecture marvels, human expression, and whatever else that fancies my visual appetite. I am learning everyday and continue to enhance my exposure to all things visual arts as much as I can. If I was to describe my style in one word it would be “moody”. LOCATION Boston UNITED STATES CAMERA/S Leica M246, Leica M10M WEBSITE http://www.zeeshankhan.com/ @ZEESHANKHAN_BW FEATURES // Visual Poetry

PICTORIAL STORY MERMAID MAGIC AJ Bernstein captures the vibrant spirit of Coney Island — from the wild energy of the Mermaid Parade to the eccentric moments of its everyday characters. Her work is a celebration of community and the freedom to be unapologetically yourself. September 2, 2022 PICTORIAL STORY photography AJ BERNSTEIN story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Who doesn't love a parade? How about a parade created by artists, based on mythology, and brought to life by the collective and creatively diverse community of Coney Island in Brooklyn, New York? Known for its wildly inventive costumes and freedom of expression, the Mermaid Parade was created by Dick Zigun, co-founder and artistic director of CIUSA from 1980-2021. Dick saw that the economy and true spirit of Coney Island was at a low point, receiving only negative press, highlighting only murder, arson, gangs, and graffiti. Dick proposed a change that would give Coney Island and its amazing community new direction. Dick studied parades, and it inspired him to do something public and visible to lift the image of Coney Island, what better than a Mermaid Parade. It worked and helped define Coney Island in new ways, bringing it and thousands of other people, into the future in bright extraordinary ways. The first Mermaids paraded down Surf Avenue in June of 1983, when there were more people watching, than actually marching in it. This year’s parade drew 800,000 people, ready to celebrate after the hiatus of the parade, because of the pandemic. The crowds cheered The Mermaid Parade’s return this year with more enthusiasm and need for self-expression, coming out of a period of solitude and self-isolation. It was time to let fantasy become reality and celebrate life with open hearts and open minds. Mermaids and onlookers alike were thrilled to have their parade again. AJ Bernstein is an experienced professional photographer who has worked in many industries, traveling the world, while exploring through her lens, its cultural diversity, with a preference for remote areas and favorite destination for inspiration, Papua New Guinea. AJ shares her wisdom from her years of experience in photography. “In the early years, it was tough for a woman photographer to gain a foothold in a very male dominated profession. I fought preconceptions about women in photography while wrestling my insecurity demons; my belief in my work is hard won. Perseverance, a good eye, Brooklyn honed chutzpah and talent for capturing people eventually prevailed. I am now on a mission, to dedicate myself to personal projects, most currently Coney Island, make meaningful connections to my community and fully commit to my practice of photography.” AJ admits to experiencing challenges along the way and brings to light her new found and constant inspiration. “For many years, after burning out on assignment work, I fell into a long dry spell and didn’t shoot. On my recent return to Brooklyn, the neverending subjects in Coney Island brought back my desire to make photos, to create my art.” We have the extreme pleasure of sharing AJ’s bold dynamic work that celebrates the extraordinary in all things. AJ engages us with her direct approach to photography, embracing the excitement and enthusiasm of her community with her very unique style. Coney Island becomes the stage that is saturated by an enthusiastic and unique cast of characters, with the spirit, and pride that allows for individuality and self-expression, creating visual stories like AJ’s photographic series, Mermaid Magic . AJ shares what it was like that first day she discovered the Mermaid Parade, and how finding communal joy is what keeps her coming back. “In 2017 I shot my first Mermaid Parade. That year it rained, which made it more intimate and sparkling, which did nothing to prepare me for the crowds, heat and the crazy the following year. I went berserk. You can’t capture it all, but oh did I try! Six hours, running around in hot sun, dehydrated, hungry, exhilarated by the endless photo ops, the mad costumes, the joy, everyone eager to pose for photos, not the usual street shooting experience. And the bare breasts! I learned that as long as it’s artistic, and not lewd, it’s allowed. When the mermaids returned this year in full force, I was there to meet them.” The Coney Island community has been a source of inspiration on a daily basis. Engaging with people she shoots, connecting with her community, creating friendships and clear relationships, gives AJ a genuine view to candidly and honestly portray the characters of Coney Island. AJ shoots more than just the Mermaid Parade at Coney Island and has found much inspiration in the eclectic diversity of the people who live, work, and play in Coney. She tells us what has given her this inspiration to create new work exploring ‘Day into Night’. “The Coney Island community of Carneys, artists, Polar Bears who swim in winter, people roaming the back streets at dusk, and a cast of eccentrics has become a source of unending fascination for me. Engaging my photography, connecting with such diverse people in my community, creating friendships and clear relationships gives me an open view to candidly portray the characters of Coney Island.” As AJ is testament to, it is not always the equipment that is important. AJ reminds us of the importance of just getting out and taking photos, to engage in photography as art. She admits to essentially learning her craft over again, transitioning from film to digital. “My first experience was capturing the winter hijinks of the Polar Bear Club using an iPhone. I would later use a point and shoot, then a low-level Canon DSLR. But this year, I raised my game. I bought a mirrorless, full-frame Canon R5 and two RF lenses, and that’s when my work began to take shape. Coney Island is the ideal place for me to mine the power of the personal project in all four seasons: it is unapologetic hedonistic joy, a last stand of uncivilization where the subway meets the sea. It suits my nature to go out alone with a camera and no agenda, to connect with people away from the constraints of urban life. This summer, in stultifying heat, I’m spending more time roaming the back streets at twilight, my favorite time to shoot when the sun goes down, lights come up and the magic begins. I worry as Coney Island inexorably yields to more development, but I’ll continue to chase its vibrant life until it morphs into another generic amusement park and becomes a ghost of childhood wonder.” AJ leaves us with her candid thoughts and truths that motivate her to create new work. “In weak moments, I indulge in regret that it took me so long to fully commit to my shooting. I am now, essentially, relearning the craft, and no longer coasting on a good eye and what comes easily. Ira Glass talks about the gap between the killer taste that got you into your creative pursuit, and how initially it’s this taste that disappoints; at first you are making work that is just not that good, and you know it. That’s where many lose heart and quit. I remember her words; Glass says, “It’s only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. You gotta fight your way through”. Finally, I am in the fight. The gap is closing.” AJ thinks there’s an enormous amount of opportunity for women today. AJ has made the conscious effort to engage her subjects, embrace their uniqueness and spirit in that moment, and to let her work evolve as her community does. She chooses to not make just photographic images but to create art. She explains, “There is something about me and my genuine enthusiasm for life and for people that shows in the work.” © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein © AJ Bernstein We would like to thank AJ for sharing her enthusiasm with The Pictorial List, and for making women more aware of the challenges, while at the same time giving them hope that times are changing, thanks to women like AJ, who have helped forge the way. AJ is currently exhibiting in the More Art of Coney Island show at the BWAC Gallery in Red Hook Brooklyn. She has seven 24”x 36” prints not to be missed! To learn more about AJ Bernstein and to see more of her work, go to AJ's profile link below. You will be inspired! view AJ's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye.

I am a Brooklyn based photographer who shoots for advertising agencies, editorial clients and on the streets of New York. I began my career as an art director in New York City with a passion for photography. After taking a workshop at the International Center Of Photography, I took to the streets of New York City to capture everyday life. My work has been exhibited at the International Center Of Photography, the Annual Women Street Photographers exhibit in NYC 2020, Art On The Ave NYC 2020, the Women Street Photographers Inaugural Virtual Exhibition 2021, the 2nd Women Street Photographers Virtual Exhibition 2021. Currently my work is part of the Women Street Photographers Exhibition in Villahermosa, Tabasco, Mexico at the National Museum of Anthropology. I have been recognised by Spectaculum Magazine, Street Photography Hub (Street Finder), The Pictorial-List, and La Calle Es Nuestra. This is an ongoing series of portraits taken on the boardwalk at Coney Island. I love that Coney has come back to life this summer after having been partially shut down due to COVID-19 last year. It brings me such joy to meet and photograph these vibrant characters as I roam the boardwalk. Coney truly is a paradise for portrait photography. It never disappoints. CAROL DRONSFIELD I am a Brooklyn based photographer who shoots for advertising agencies, editorial clients and on the streets of New York. I began my career as an art director in New York City with a passion for photography. After taking a workshop at the International Center Of Photography, I took to the streets of New York City to capture everyday life. My work has been exhibited at the International Center Of Photography, the Annual Women Street Photographers exhibit in NYC 2020, Art On The Ave NYC 2020, the Women Street Photographers Inaugural Virtual Exhibition 2021, the 2nd Women Street Photographers Virtual Exhibition 2021. Currently my work is part of the Women Street Photographers Exhibition in Villahermosa, Tabasco, Mexico at the National Museum of Anthropology. I have been recognised by Spectaculum Magazine, Street Photography Hub (Street Finder), The Pictorial-List, and La Calle Es Nuestra. This is an ongoing series of portraits taken on the boardwalk at Coney Island. I love that Coney has come back to life this summer after having been partially shut down due to COVID-19 last year. It brings me such joy to meet and photograph these vibrant characters as I roam the boardwalk. Coney truly is a paradise for portrait photography. It never disappoints. LOCATION Brooklyn UNITED STATES CAMERA/S Leica Q2 WEBSITE https://caroldronsfieldphotography.com/ @CAROLDRONSFIELDPHOTOGRAPHY FEATURES // On the Boardwalk Making a Splash: with the Coney Island Polar Bears Taking the Plunge: with Carol Dronsfield and The Coney Island Polar Bears

IRINA SEDLETSKAYA I am a Kazakhstan-based photographer exploring themes of silence, memory, and emotional restraint. My practice focuses on quiet tension, using minimal narratives and symbolic elements to create intimate visual stories. LOCATION Karagandy KAZAKHSTAN CAMERA/S Canon 550d @S_RINA_CEZAR FEATURES // Where Emotions Breathe

LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. LIMINAL SPACES November 15, 2024 INTERVIEW PHOTOGRAPHY Anna Tut INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In contemporary photography, Anna Tut emerges as an artist focused on exploring profound themes through her work. Born in the far east of Russia, on the border of China, Anna’s geographic origins mirror the liminal spaces she captures in her work — spaces between the seen and unseen, the known and unknown, the external and internal. Her artistic journey began as a departure from her profession in economics, a shift that spoke to the power of artistic reinvention. This personal transition shaped the deeply introspective nature of her photography, embracing it as a means of personal expression and discovery. At the heart of Anna’s artistic practice is a desire to create work that resonates beyond aesthetics, offering her audience projects that provoke thought, evoke emotion, and carry significant social commentary. For her, photography is not simply a medium to capture moments, but a powerful tool to convey messages — each photograph is engrained with meaning, each project is a statement or call to action. Her work reflects her belief that art has the ability to shape perspectives, ignite conversation, and inspire change. Anna’s interdisciplinary approach, applying embroidery, appliqué, and collage to her photography, results in photographs that are not merely aesthetic but carry layers of meaning. This fusion of mediums allows her to create images that are as textured in their visual language as they are rich in narrative depth. These elements act as visual metaphors for the emotional, psychological, and social layers that define a person’s experience. Her latest series, “Women”, is an exploration of the complex role of women in contemporary society. As much as women have gained rights and freedoms, they still often face immense pressure — juggling roles in society, work, and family life. Anna’s series transforms her subjects into visual stories that articulate the tensions and contradictions women face today. Each image is meticulously composed, with every detail — lighting, expression, and gesture — carefully thought out to evoke a response. The portrayal of women in Anna’s work is imbued with symbolism and a sense of timelessness. Her use of shadows, color palettes, and fabric all contribute to an air of mystery that speaks to the hidden depths of female identity. In her photographs, there is a duality — a blending of strength and vulnerability, of power and grace. The 15 women featured in her project, aged between 25 and 60, are depicted as both subjects and objects of contemplation, inviting the audience to reflect on their own understandings of womanhood. In doing so, Anna challenges the viewer to consider not just what they see on the surface but the inner world that each woman inhabits — a world that celebrates the idea that every woman is an independent, multi-dimensional individual. In this interview, we explore Anna Tut’s artistic philosophy and delve into the inspirations behind “Women”. We discuss how she approaches the delicate task of portraying women in a way that honors both their individuality and their collective experience. Through her art, Anna aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. Her portraits act as both mirrors and windows — reflecting the reality of womanhood while offering glimpses into the unspoken depths of her subjects’ inner lives. We also explore Anna’s commitment to pushing the boundaries of photography by integrating traditional craft techniques with digital artistry, creating a distinctive visual language that is all her own. Anna Tut’s work reminds us that art can be a powerful tool for dialogue and change. She believes that photography, beyond its aesthetic function, should inspire reflection and provoke discussion. As Anna looks to the future, she remains committed to creating projects that resonate on both a visual and intellectual level. For her, these projects are more than just an artistic endeavor; they are an essential contribution to the broader conversation about gender, identity, and societal roles. “The heroines of my photographs always like the result. Women are often dissatisfied with their appearance and are tired of the portraits they typically post on social media. They want more complex images of themselves. The visual pressure on women is very significant, and when they receive an image of their persona that is full of meanings, it becomes a very unusual experience.” IN CONVERSATION WITH ANNA TUT THE PICTORIAL LIST: Can you share how your personal journey and your experiences growing up in the far east of Russia have shaped your artistic vision, and in what ways do you think these influences manifest in your photography? What moments stand out as pivotal in your development as an artist? ANNA TUT: I was born in a unique region and from childhood, I witnessed unusual creativity shaped by folk crafts historically practiced by the indigenous peoples of these territories: the Nanai, Udege, Koryaks, and others. The so-called petroglyphs of Sikachi-Alyan are included in the UNESCO World Heritage list, and the ornamental art of the peoples of the Amur region is noted for its originality and beauty. From an early age, I encountered folktales and myths that were unusual and mysterious. Uncommon musical instruments are also characteristic of the art and culture of my region. I grew up immersed in this culture, which ultimately shaped my cultural identity. TPL: As an interdisciplinary artist, you integrate various mediums such as embroidery, appliqué, and collage into your photography. Can you elaborate on your motivations for combining these different forms of expression, and how you believe this fusion enriches the narratives within your work? Additionally, how do these techniques interact with your photographic images to convey deeper meanings, and what do you hope viewers take away from this multifaceted approach? ANNA: In my opinion, photography as a medium in its pure form is insufficient for expressing the creative potential of an artist, which is why I have been engaged in interdisciplinary art for a long time. This allows for the creation of visually more complex works, as well as infusing them with more intricate meanings. I still love the classic portrait, but for the idea of my project, it was necessary to create an image. It is the image, rather than a portrait of a specific woman, that allows me to express my thoughts most accurately. TPL: In your project “Women”, you focus on portraying women in a way that acknowledges both their individuality and their collective experiences. Can you describe your artistic philosophy regarding this delicate balance? How do you navigate the complexities of representing each woman's unique story while simultaneously addressing broader societal themes and issues that affect women as a whole? ANNA: The balance between individuality and collective experience in each specific woman is not only difficult to capture but also to convey to the audience. I start by engaging with each woman, exploring her story, experiences, and dreams. These conversations help me see the uniqueness of each participant, but they also allow me to identify common themes that concern all women, such as the struggle for equal rights, the role of women in society, motherhood, careers, and personal ambitions. I choose a particular image or concept for my subject. I do not take straightforward shots; instead, I employ complex photographic techniques such as long exposure, incorporating fabrics and reflective objects into the frame. I always use meditative music during the shoots and encourage the women to move as she feels comfortable. During this time, I capture her movements and photograph what I believe she radiates. I almost never use photo editing software; for this project, it would feel "unfair." TPL: In what ways do you aim for your work to influence discussions about gender identity and the emotional landscapes women navigate daily? How do you confront the challenge of ensuring that your portrayals resonate with a diverse audience, encouraging them to reflect on their perceptions of womanhood and the various roles women inhabit in contemporary society? ANNA: First of all, I send my projects to curators and try to propose them to publications. I believe this way I can draw attention to the issues and questions I address in my projects. I can publish individual frames from the project on my social media, and sometimes they attract very angry and unfriendly comments, which makes it clear to me that my visuals have touched a nerve for someone. TPL: As a photographer, how do you navigate the balance between technical skill and creative intuition in your work? Are there specific techniques or tools that you feel enhance your ability to express your vision, and how have these evolved over time? ANNA: I always rely on my intuitive perception. And while my technical skills grow year by year, they are just tools for my mind, and I use them to expand the possibilities for bringing my ideas to life. After all, the idea is what matters most, and then each artist expresses it in their own way using the technical means available to them. This is freedom, and it is wonderful! I believe that it is through personal images that we can speak to the global issues and legal questions affecting women around the world. TPL: In your opinion, what role does storytelling play in photography, and how do you approach the challenge of conveying a narrative through your images? ANNA: I love storytelling; for me, it is an inspiring tool for engaging with the viewer. However, storytelling does not suit every project. Complex projects often require philosophical texts and can be very difficult for an unprepared audience to understand. I have projects that incorporate storytelling, which are usually documentary projects, but I also have projects with fairly complex texts. TPL: What has been your most significant challenge as a photographer, and how did you overcome it? How did this experience shape your understanding of resilience in the creative process, and what lessons did you carry forward into your future work? ANNA: If we talk about the specifics of the work, then the work of a photographer like me is always about working with people. It’s important to spend even more time communicating with the subjects than on the actual shooting. I am naturally impatient, and I find it challenging to demonstrate patience and understanding that the subjects need time to get accustomed to the process. However, I am grounding myself more and more and allowing the process to flow at its own pace. As a result, I take great pride in myself because the response from the subjects is so much greater when there is no pressure involved. TPL: Looking back on your journey as a photographer, are there particular influences — be it other photographers, artistic movements, or life experiences — that you can pinpoint as having a profound impact on your style and approach? How have these influences evolved over time? ANNA: Photography has always been an inseparable part of my life, but I was only able to fully dedicate myself to it in adulthood, when the youthful maximalism that divided the world into black and white faded away. I realized that judgments about anyone or anything can be superficial, and only patient study of a phenomenon or object can lead to truly inspiring discoveries. When it comes to the influence of other photographers or artists on me, there are many, but among artistic movements, the philosophy of constructivism has had the greatest impact on me. TPL: In a world increasingly dominated by digital imagery and social media, how do you maintain a sense of authenticity and personal expression in your work? What strategies do you employ to ensure your photography remains true to your vision amidst external pressures? ANNA: There are indeed a vast number of digital images, and you are right that their purpose increasingly boils down to quickly conveying information. On the other hand, the artist's task is the exact opposite. Art is primarily about contemplation and reflection. Yes, art can utilize digital imagery, but it differs in its purpose, which in turn leaves an imprint on the visual itself. This is a very noticeable distinction. For now, I view artificial intelligence as a technical tool that expands the possibilities for the creator. TPL: As you look toward the future of your artistic practice, what types of projects are you currently considering, and how do you envision these endeavors evolving over the next 3 to 5 years? Are there specific themes or issues you feel compelled to explore more deeply, and how do you see your style or approach transforming as you continue to grow as an artist? ANNA: I am drawn to two types of projects: fine art projects and documentary projects. Currently, I am working on an art project about the theme of Anthropomorphic Nature, while simultaneously developing a documentary conceptual project about discarded items. I have enrolled in a two-year program at an institute of contemporary art. I believe I need to enrich my knowledge in philosophy and contemporary art in order to create conceptually more complex projects. I think that my studies will change my approach and possibly my style. We'll see where this path takes me. TPL: When you’re not behind the camera, what fun adventures or creative pursuits would we find Anna diving into, and how do they add a splash of inspiration to your photography? ANNA: I love traveling and draw inspiration from it. I also enjoy cooking. All of these activities allow me to reflect, while travels enrich me with new visuals. 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.

SAID MANSEUR I am a visual storyteller and photographer from Mascara, Algeria, currently based in Algiers. My work focuses on overlooked social issues, questions of identity, human rights, and the cultural life of Algeria. Through photography, I am drawn to stories that often remain outside public attention. I use the camera as a way to observe, listen, and understand how people live within changing social and cultural conditions. My practice is shaped by Algerian heritage, but also by a wider interest in memory, belonging, and the human need to be seen. I am a member of the African Photojournalism Database, and my work has been exhibited internationally, including at Image Festival Amman and Cairo Photo Week. In 2024, I studied at École Kourtrajmé and was officially accredited as an artist-photographer by the National Council of Arts and Letters. In 2025, I founded the National Photography Salon El Forsan, a platform dedicated to promoting photographic talent and visual culture across Algeria. LOCATION Algiers ALGERIA CAMERA/S Fujifilm x10 WEBSITE https://sites.google.com/view/said-manseur/news @SAID.MANSEUR FEATURES // Proscenium Ghosts

I've had a love for street photography since I was a child, long before I knew it had a name. Not until 2017 did I take up the challenge of photographing in the streets myself. I'm drawn to ordinary people doing ordinary things. To me, it’s all extraordinary - emotion, gesture, connection, and humor. I believe that we humans are much more alike than we are different, and hopefully my photos remind people of that. I have been exhibited in Washington DC, New York, Miami, San Francisco, Paris, Trieste, and Sydney. I am part of the Women in Street Collective, DC Street Photography Collective and Optic Nerve Collective. MARCI LINDSAY I've had a love for street photography since I was a child, long before I knew it had a name. Not until 2017 did I take up the challenge of photographing in the streets myself. I'm drawn to ordinary people doing ordinary things. To me, it’s all extraordinary - emotion, gesture, connection, and humor. I believe that we humans are much more alike than we are different, and hopefully my photos remind people of that. I have been exhibited in Washington DC, New York, Miami, San Francisco, Paris, Trieste, and Sydney. I am part of the Women in Street Collective, DC Street Photography Collective and Optic Nerve Collective. LOCATION Washington DC UNITED STATES CAMERA/S Fuji X-T3 WEBSITE http://www.marcislindsay.com/ @MARCISLINDSAY FEATURES // The Extraordinary Ordinary

BOOK OLD CUSTOMS October 9, 2020 BOOK PHOTOGRAPHY Chris Suspect TEXT Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link A whimsical take on street photography, Chris Suspect’s new book OLD CUSTOMS combines visual references to Romanian fairy tales, turn of the century embroidery patterns and scenes from a remote fishing village. Chris is a street and documentary photographer from the Washington DC area in the United States. His street work specialises in capturing absurd and profound moments in the quotidian and his documentary work deep dives into various subcultures. His exploration of sub-cultures have resulted in images that are raw and intimate, making us think or evoke a reaction. They contain something unexpected. Chris’s latest book OLD CUSTOMS gathers images that were photographed over a period of three years in Vama Veche, a seaside town in Romania. Originally visiting as a guest of a photography and visual arts festival called VSLO in 2017, he was curious about the first generation of Romanians who did not have the personal experience of what it was like to live under the rule of Nicolae Ceausescu’s dictatorial state. His curiosity stemmed from his own personal experience growing up in Moscow in the seventies during the reign of Leonid Brezhnev. He recalls how dark, bleak and miserable it was for him as a young person during that time. To be separated from this political ideology by the sliver of one generation was interesting to Chris, and he wanted to explore these ideas photographically. He returned to Vama Veche in August 2018 and 2019 to work on his project. Vama Veche became known as a bastion of freedom from the prying eyes of Ceausescu in the late 1960s through the 1980s, which really intrigued Chris. To him it seemed the polar opposite of what he had experienced. The challenge for Chris was to express the experience of his youth in Communist Russia and juxtapose that with what he was seeing in the young people he met in Vama Veche in photographs. “The goal for me photographically was how to express not having known this type of oppression in my imagery. To be free from it in a sense, while acknowledging its presence without showing it’s presence, if that makes any sense,” he explains. Vama Veche is a remote village off the shore of the Black Sea in Romania´s far southeast, on the border of Romania and Bulgaria. The literal translation of “Vama Veche” to English is “old customs”. The perfect title for this project and book. The settlement of Vama Veche was founded in 1811 by Turkic people. With the rise of Ceausescu in 1965, it became known as an oasis of freedom, a rebel town where poets and writers commingled with the local fishermen. The village grew into a colony of intellectuals living in tents or renting rooms from the locals. Since those times, Vama Veche has become known as a nontraditional tourist destination. According to Chris, it has “this Woodstock hippie vibe” to it that retains the original spirit of the village, although over the course of the three years working on his project, Chris did start to notice Vama Veche changing. His main goal was to capture the sense of freedom he was experiencing through the people he met. He focused on the ideas of freedom and youth tethered to history by referencing Romanian mythology and Soviet-era propaganda, capturing the evidence of Western culture and commercialisation through his street photography, conceptual ideas, and some nude portraiture. Instead of taking a literal or documentarian approach to the layout of the book, Chris sequenced all the images together in the style of a modern fairy tale filled with beauty, magic, myth and mystery. A lot of the photographs in the book are straight street photography observations that Chris shot spontaneously, mixed with a few traditional portraits and nudes. He also shot several conceptual photographs using a mirror as a prop. This was an interesting development to his process and was something completely new for Chris. After hearing the song “I’ll Be Your Mirror” by The Velvet Underground on the radio whilst in his kitchen, he pondered the popular idea of a photograph being the mirror of the photographer and he wondered how he could turn that idea around by placing a mirror on people’s heads. In Romania, Chris created a mirror mask consisting of a round mirror mounted on a pair of protective goggles, to incorporate this idea into his project. Mirrors can connote many different interpretations and they have historically been used in art and literature to symbolise ideas of truth, discovery, wisdom, awareness, the conscious and the unconscious. When Chris discovered that he could create a sunburst with the mirror, he became enthralled with the idea that he could conceptually elevate the people he photographed into gods or goddesses. The resulting photographs reminded him of some of the iconography in old Communist propaganda posters. When showing his work to one of his Romanian friends, she told Chris that they reminded her of the legend of the Sanzienale, beautiful mythological nymphs often seen with bright yellow flowers on the crowns of their heads. During the editing process this new information opened Chris’s eyes to a potentially deeper connection with the framework of the book. The idea of incorporating this mythological interpretation of the story of the Sanzienale tied in nicely to his photographs' theme of youth and freedom tethered to the history of Romania. As Chris was creating the book he came up with the ideas of using old Romanian embroidery patterns to delineate the sequences of different segments instead of the customary blank page that is commonly used in photographic narratives. After researching such patterns on the internet, Chris found some from around the turn of the 20th century and recreated them using Adobe Illustrator. What he learned by doing this is that many of the patterns formed a secret code or language that was synonymous to that specific region in Romania. They reinforced the idea of history throughout his book. In essence, “Old Customs” is a mix of different approaches that work well together within the context of Chris’s body of work. Reflective and whimsical, this book opens up other possibilities for street photography, taking us on a journey to discover traditions, customs, folk stories and mythology, and revealing the incredible richness of ordinary human life experiences in Vama Veche. Old Customs is the third of four photo books that Chris is publishing this year. The first was Gratuity Included and the second was Leather Boyz. You can buy Chris' books through his website. PORTFOLIO CLICK ON IMAGES TO ENLARGE The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team.

I am universal photographer dabbling in multiple genres and narratives from the U.K and Ireland. Passionate about the arts, fashion, and travel, I try to reflect these themes into my whimsical work. LI MULLEN I am universal photographer dabbling in multiple genres and narratives from the U.K and Ireland. Passionate about the arts, fashion, and travel, I try to reflect these themes into my whimsical work. LOCATION London UNITED KINGDOM CAMERA/S Leica, Nikon, iPhone 8 @LI.MULLEN FEATURES // Whimsical Happenings