VIEW OF THE WORLD It is Andrew Rovenko's own personal projects using a film camera that has resonated with many people and has given him the most inner joy. VIEW OF THE WORLD November 28, 2021 INTERVIEW PHOTOGRAPHY Andrew Rovenko INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Andrew Rovenko is a photographer and creative technologist, originally from Odessa Ukraine. Andrew moved to Melbourne Australia more than fifteen years ago, where he now works and lives. Andrew started his family here and shares his life with his wife Mariya, an artist with a degree in theater costume design, and his four year old daughter Mia, Rocketgirl. Andrew's photography journey started close to twenty years ago but its his personal projects using a film camera that has resonated with so many people way beyond his commercial work and has given him the most inner joy. “The best thing about personal projects is that there’s no pressure to make any plans. We’re there on a journey taking one day at a time and seeing where this road might take us.” IN CONVERSATION WITH ANDREW ROVENKO THE PICTORIAL LIST: Andrew please tell us a little about what it was like growing up in the Ukraine, and your transition to Australia. How old were you, and what brought you there? ANDREW ROVENKO: Being born “behind the iron curtain” and having experienced both - the USSR times and what came after its collapse, I think there was this natural thirst of exploring more of the world and seeing what else is out there. And what could sound more adventurous to a 20-something year old, than travelling to the other side of the world to the mysterious land down under...So once such an opportunity came about - this adventure started and then became our new life. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What is the camera you use now? AR: I think that would be my granddad’s half frame Chaika (Seagull) Coincidentally, it’s name came from the call sign of the first woman in space, which only now came to my mind after answering this question 😊 I love to experiment with my equipment and have quite a few cameras “on rotation”, depending on what I want to try on a particular day, or bring out one that I haven’t used for a while. 35mm cameras are great for “quick snaps” on the go and I have a few different ones that I like for their different quirks. 4x5 is the best for really slowing down and immersing yourself into each shot, and medium format offers great balance between the two. Which is why I use the medium format Mamiya RZ67 for the Rocketgirl series. With no in-built metering system and manual focus - it makes you just slow enough to avoid mindless snapping, but at the same time it’s portable enough to carry around and much quicker to use than my 4x5 cameras (and anyone who shot with vintage barrell lenses can relate to having a real shutter being alike to cheating, so this camera is almost too easy 😊 TPL: What have the Rocketgirl Chronicles brought unexpectedly to your photography? AR: The ability to see the world just a little bit differently. This is probably the most precious gift to any photographer, and I hope I don’t lose it. TPL: Do you think Rocketgirl has changed you as a photographer, and if so how? AR: Yes, the “view of the world” that became maybe just a tiny bit closer to what it used to be when I was a kid. *Editor's note - Read about the Rocketgirl Chronicles here on the website via link below. TPL: What have been some of your most memorable moments as a photographer? AR: It’s a very hard one to answer, as “carrying memory” is the inherent property of every photograph, and when I look back at many photographs - they bring back places, people and experiences of that moment. And with each such moment being an equal part of life - I really couldn’t single out even just a dozen from over 20 years of making memories 😊 TPL: What are some tips or advice you would give yourself if you started photography all over again? Not taking pictures is just as much (if not greater) part of photography as taking them. TPL: Do you see differently now, than you did when you first started out in photography? If so, define that new vision. AR: Different styles of photography require different vision. As many new starters, I focused way too much on technicalities of the craft. I used to look at “locations” and “lighting” and “subjects” and consider how well they look/work together, whilst the single most important question now is - what will this image say to the viewer. TPL: Do you have any favorite artists or photographers you would like to share with us, and the reason for their significance? AR: Oh, that’s an impossible question. Every decade since the invention of photography has been represented by many inspirational masters that I admire for different reasons, from Prokudin-Gorsky who pioneered the colour process and produced amazing documentary work, to the famous Weegee whose journalism photography is just incredible (and who was born in what’s now Ukraine), so my head starts hurting even if I just start scratching that surface. TPL: If you could choose just one photographer to shoot alongside for the day, who would you choose and why? AR: It would have to be Sally Mann, at the time of her “Immediate Family” work. Being able to portray such artistic, but at the same time raw and honest stories with her children, not mentioning the equipment that she used - just beyond comprehension, and being able to observe how such magic was created would have been very special. TPL: Besides your spots you photograph for Rocketgirl Chronicles, what are some of your most favorite spots you find inspiration to explore through your photography, and what draws you there? AR: This is very cliche, but the sea is always a magnet. And it’s not really photography wise, as it’d probably be one of most explored themes out there, but just personally. The sea is always the same and never the same, which makes it an endlessly interesting subject for personal studying. TPL: Other than Rocketgirl, are there any other photographic projects you are working on, or have planned in the near future? Where do you hope to see yourself in five years? What do you hope for Mia in five years? AR: The best thing about personal projects is that there’s no pressure to make any plans. We’re there on a journey taking one day at a time and seeing where this road might take us. The Rocketgirl chronicles were never planned, and it happened to be the most enjoyable experience so far, so the only plan at this stage is not to make plans 😊 TPL: When you’re not out photographing, or commanding mission control for Mia, where do we find Andrew Rovenko...what would he be doing? AR: That’d be the laundry, developing fresh rolls or at my desk scanning the results of our latest adventures. There are also a couple of old motorcycles sitting neglected in the garage and patiently waiting until I can pay them some attention, but I don’t think they have much hope any time soon. Andrew Rovenko has a deep passion for photography and creative technology that he has been exploring for close to twenty years. If you are interested in discovering more of Andrew's beautiful photography and creative work, use the links below to explore further. Let Andrew Rovenko's photography challenge and inspire you! VIEW ANDREW'S PORTFOLIO Read ROCKETGIRL CHRONICLES >>> Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

I am a 57 year old self-taught photographer based in València. I have been taken photographs since I was twenty - friends, family, travels...working in some photo labs and doing some reports. Later, I stopped taking photographs for some years....and then recently I found street photography. JOSE MARCO LULL I am a 57 year old self-taught photographer based in València. I have been taken photographs since I was twenty - friends, family, travels...working in some photo labs and doing some reports. Later, I stopped taking photographs for some years....and then recently I found street photography. LOCATION Valencia SPAIN CAMERA/S Fuji XE2, X100T @MARCO_LULL FEATURES // What Strikes a Chord

PICTORIAL STORY EXCLUSION ZONE SEARCHING FOR CLUES IN CHERNOBYL April 23, 2021 PICTORIAL STORY Photography and story by Sophie Linckersdorff Introduction by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Sophie Linckersdorff is a German photojournalist and documentary photographer. She is currently based in Munich and in Berlin. Since 2018 she has been studying Photo Design at the University of Applied Sciences in Munich. She mainly works in the field of portraiture and documentary photography on personal long-term projects and international editorial assignments. Her projects have received several awards, and she has had diverse exhibitions. Sophie shared with us a stunning set of photos from the Pripyat Exclusion Zone in Chernobyl, where she photographed the remains of the former human presence. “Man lives with death, but he doesn’t understand what it is.” - Svetlana Alexievich ( Voices from Chernobyl: The Oral History of a Nuclear Disaster ) THE HISTORY Thirty-five years ago, on Saturday, 26 April 1986, the No. 4 reactor in the Chernobyl Nuclear Power Plant, near the city of Pripyat, a Soviet city built especially for the power plant workers in the north of the Ukrainian SSR, then part of the Soviet Union, exploded. What happened was an uncontrolled nuclear chain reaction during a safety test that went terribly wrong. To this day it is considered the worst nuclear disaster in history. When a large amount of energy was suddenly released, two explosions broke the reactor core and the building housing it. For about nine days following the accident, the reactor fire that followed spewed highly contaminated nuclear radiation into the air. The radioactive pollution spread through winds across parts of the USSR and much of northern and western Europe — but the accident was kept a secret from other countries for days. It later turned out that the KGB had received reports on numerous structural and construction quality issues and deviations from the original design of the plant since 1973, but the Soviet government failed to act on it. Because of increasing environmental radiation levels, initially an initial 10 kilometre radius exclusion zone was later expanded to 30 kilometres. Evacuations from the most affected city of Pripyat did not take place until 36 hours after the accident. By that time many people had been hospitalised with radiation sickness. Later, hundreds of thousands of people were evacuated from the most severely affected areas in what are now the independent states of Belarus, Ukraine and Russia, and an area of more than 4,000 square kilometres lies largely abandoned, though some people have returned. The social consequences continue to be felt. A small number of people even continue to live in the most polluted areas. The damaged reactor itself has been encased in a steel structure to keep further radiation within. Plants and wildlife have taken over areas that were abandoned by humans. Scientific research on pollution levels has been continuing, and some think it may be safe to live in the area except for the pollution hotspots. In direct response to the Chernobyl disaster, the Vienna-based International Atomic Energy Agency initiated the creation of a Convention on Early Notification of a Nuclear Accident, and this now binds signatory member states to provide notification of any nuclear and radiation accidents that could affect other states, along with the Convention on Assistance in the Case of a Nuclear Accident or Radiological Emergency. In recent years Pripyat was deemed safe for short visits and has now become one of Ukraine's tourist attractions, with visitors coming to experience and photograph this "lost place". Sophie was one of them, and this is her photo essay. The sun is shining. No smoke, no gas. There is no shooting. Is that a war? And yet we are refugees. The familiar world - an unknown world,” said an evacuated woman in 1986. Death lurked everywhere, but this death is somehow different. Radioactivity is invisible, silent and tasteless. The explosion of the Chernobyl nuclear reactor on April 26, 1986, devastated millions of people in the Ukrainian Belarusian border area. Since then, Chernobyl has been one of the world's collective nightmares. The catastrophe was beyond human imagination. How could one put the immeasurable suffering into words? What is most memorable in Chernobyl is life "after": Cities without people, houses without people, relics of human existence. One wonders: what is it - past or future? My first trip to the zone: It was December 2019. Birds sang, the trees bore needles, cities and villages lay before me. Everything looked very familiar. But something was missing: the people. Decaying relics bear witness to a high-tech city that flourished at the time. © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff © Sophie Linckersdorff With this photojournalistic work I would like to stimulate thought as well as to commemorate the countless victims of the man-made catastrophe. I see the depicted morbidity as a memorial, against an unconditional technology piety. view Sophie's portfolio Read an interview with Sophie >>> Instagram >>> Sources used in story - BBC, Chernobyl | The end of a three-decade experiment Wikipedia | Chernobyl Disaster The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

THE STORYTELLER Documentary photography is all about telling stories. We talk to David Gilbert Wright more about the importance of storytelling in his photography. THE STORYTELLER June 19, 2020 INTERVIEW PHOTOGRAPHY David Gilbert Wright INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. When David Gilbert Wright first set out as a photographer, he soon realised that although a photograph should ‘speak’ for itself, a story always brought the photograph to life. Now, forty years later, David is writing about his photographs and about photography as one of the most powerful ways of communicating. If I could tell the story in words, I wouldn’t need to lug a camera. - Lewis Hine “How true that is but equally imagining that a picture is worth a thousand words is also naïve. Photographs in themselves do not have meanings, which is why I like to combine photographs with text. It enables me to tell the story I want to tell. Finding a subject and then spending time exploring it photographically and getting to know the people and their stories yields much more interesting results than simply taking pictures of anything and everything.” IN CONVERSATION WITH DAVID GILBERT WRIGHT THE PICTORIAL LIST: David, when did you start getting interested in photography? DAVID GILBERT WRIGHT: It was during the Foundation Course in Art and Design. I didn't really do any photography before then. As a little boy, my dad let me hold the Box Brownie and press the shutter once or twice but that was about it. Suddenly being shown a darkroom and processing films was magic! I was hooked. And that feeling of seeing a print emerge in the tray is a wonderful experience. TPL: Where do you find your inspiration? DGW: Life. Some say that by photographing an event, you are not really experiencing it and that is true to some extent. Equally, to photograph it is to participate in the event at the time as an important recorder of what is happening but also to experience the memory of it over and over again whenever you look at the photographs. That is why so many people take pictures – so they can remember and relive the experience. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DGW: No one exists in a vacuum. The same is true of photographers. We will always be a product of what we have seen. I find it interesting to reflect on who may have provided inspiration to me. Cartier-Bresson for his theory of the “Decisive Moment”. Bill Brandt for his ability to represent the dignity of ordinary people. Homer Sykes for showing me how to notice what is in plain sight and of course, Ansel Adams for his whole approach to exposure, processing and printing. TPL: Has your style of photographing changed since you first started? DGW: Documentary photography is all about telling stories. Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. When I first set out as a photographer, I realised that although a photograph should ‘speak’ for itself, a story always brought it to life. Now, here I am forty years later, writing about my photographs and about photography as one of the most powerful ways of communicating. I adopt a particular approach when producing documentary photographs. I do not set out to simply record something that happens in front of me. My aim is to let the viewer see the world ‘through my eyes’. I want them to see what I saw and to feel what I felt. I want my photographs to move people. Obviously, not every picture will do that, which is why I have adopted a storytelling approach. I do this by putting photographs together in a certain order so that they affect each other and produce meaning in the same way as the great Russian filmmaker Eisenstein. The impact of the whole story is greater than its individual components. The subjects in my photographs normally know I am taking their pictures. I spend time beforehand explaining the project and what I am trying to do. It is a particular anthropological approach, one of gaining confidence and eventually becoming part of the group for the period of producing the pictures. Some describe it as a ‘fly on the wall approach’. I like to think of it as becoming accepted and trusted to do the subject justice. Reassurance and knowledge of my work is key. I show a sample of my work to people first whenever that is possible. Even on projects like the Climate-Change Activists, I arrive early, talk to the protestors and show them my website. That way, they can be confident that I am not going to sensationalize them or rip them off. Trying to produce an emotional response in viewers does not mean that the pictures are dishonest. It is simply the reality that I witnessed and experienced at the time of taking the photograph. That is why my photographs and stories have the power to move people. It is an intentional act. TPL: Where is your most favourite place to photograph? DGW: The British Isle is a wonderful place to take pictures for many reasons. There is so much happening and such diversity that as a documentary photographer, it is like being locked in a sweet shop! The light is amazing with those bright summer days and stormy winters. I am currently working on a particular way of making portraits using dramatic backgrounds. I think some may call it Landscape Portraiture. A number of my new photographs use the approach. Documentary photography is all about telling stories. Four decades of being a photographer inevitably results in the development of both a way of seeing and a way of telling. TPL: Do you think equipment is important in achieving your photographic vision? What would you say to someone just starting out? DGW: The Camera is a means to an end. Cameras and equipment are simply the tools I use to express myself. I began my career using a Pentax KX. It is a very basic camera and one of the things that I learned was that you need to be able to change speeds and apertures quickly in documentary situations. So, the simpler the controls the better. Knobs and rings are things you operate manually by touch. You don’t need to look at them. Modern cameras have so many functions with layer upon layer of multi-screens but it takes a real expert to be able to find, use and override functions rapidly. I am not a Luddite, simply someone who wants to retain the craft aspect and be able to concentrate on the events as they unfold in front of me. Another important part of being a documentary photographer is getting right up close to and in the action. To become part of it rather than a spectator looking on. Therefore, I use a wide-angle lens and a telephoto for portraits so I am not right in their face. TPL: What characteristics do you think you need to become a good documentary photographer? Any tips or advice? DGW: My advice to those just starting out as documentary photographers is to work in projects. Try to find out as much about the subject or event you can in advance and plan what kinds of pictures you want to take. Don’t be afraid of getting to know the people you are documenting. It will pay dividends. Explore the emerging themes and look laterally. Not everything is happening inside the viewfinder, so stay alert. TPL: Have you ever been involved in the artistic world before photography? DGW: I was in my late teens when I went to Art college. Before that, I was very keen on painting and drawing. My art teacher once handed me a camera ready loaded with black and white film and sent me and some friends off to see what we could do with it. So, really most of my life has been about photography. TPL: Are there any special projects you are currently working on? DGW: I am working on two projects. The first, Modern Tribes of England is a long-term documentary project looking at groups such as Morris, Pagans and Climate-Change Activists. I spend extended periods with the groups getting to know them and what they do. The second project is exploring the triumph of the human spirit over adversity. The participants are people who have experienced a serious trauma and come through it, stronger and more resilient. This project involves the survivors telling their stories and then having a portrait made. It will result in a book and an exhibition once I find a publisher who would like to take on the project. I have also been working on several ‘Lockdown’ projects. TPL: If you were not photographing what would you be doing? DGW: I would be planning, pre-visualizing and working on the next photography project. I do other things. I enjoy walking with my family and the dog. I play the saxophone and we have recently taken up cycling in London using ‘Boris Bikes’ which is great fun as you can cover more territory. David Gilbert Wright has developed a unique craft of photographing, which combines his own way of seeing the world with his ability to tell stories. Throughout his forty year career, David has used his photography as a means of communication, capturing moments and turning them into stories. His work is a testament to the power of photography to evoke emotion and create connections between people. To see more of David's work and be inspired by his vision, use the links provided below. VIEW DAVID'S PORTFOLIO read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

PICTORIAL STORY BEHIND THE PLANTS Along the stretch known as Cancer Alley, Wayan Barre documents lives shaped by industry — where communities confront pollution, hardship, and the fight to be seen and heard. September 27, 2024 PICTORIAL STORY photography WAYAN BARRE story WAYAN BARRE introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In a world where environmental crises, political instability, and economic fluctuations shape the landscape of our lives, the social narratives that define our communities are constantly shifting. These factors often dictate the values, relationships, and systems that either nurture or dismantle the fabric of society. In times of change, the question arises: Do we, as individuals and communities, rise to care for and support one another, fostering resilience and solidarity? Or do we, overwhelmed by our own challenges, turn away from our neighbors, leaving them to navigate an uncertain future alone? Wayan Barre is a French photographer, born in 1989, based in New Orleans, Louisiana. He is a member of the Raw Society, which dedicates its platform to creating a diverse photographic community with a strong focus on street, travel and documentary photography. Wayan is deeply moved by societal changes and the impact they create. His photography serves as a powerful voice through which the struggles of marginalized communities are brought into focus. His passion for exposing the truth drives him to capture the real, often overlooked, stories of people who face social and systemic challenges. By documenting the lived experiences of these individuals, Wayan seeks to understand their journeys, their resilience, and the structural barriers they confront. His visual narratives don't just highlight the hardships — they also reflect the human dignity and strength that persist despite adversity, calling for action to create more equitable and supportive environments. One wonders what drove Wayan to create such meaningful work. What opened his mind and heart to see and embrace the importance of visual storytelling that can help create awareness and ultimately build a network and platform for change? “Ten years ago, I discovered the fascinating world of street photography. My vision was shaped by artists such as Saul Leiter, Henri Cartier Bresson, Fred Herzog, and Alex Webb. I started developing skills & techniques in the street. I then felt a need to go further and tell stories with my images, moving from single images to compelling narratives. My journey as a documentary photographer was influenced by the works of Josef Koudelka ( Gypsies ), Tish Murtha ( Youth Unemployment ), Matt Black ( American Geography ) and Chris Killip ( Seacoal ). I began a quest to understand what subject matters resonate most with me. I am continuously drawn to borders and edges of society, places where cultures come together, sometimes easily, sometimes roughly.” Wayan’s early work was pivotal in shaping his photographic career. He began by collaborating with Forum Réfugiés, a French non-profit, capturing the stories and portraits of refugees and asylum seekers, which ignited his curiosity for documenting marginalized communities. His project The Sardine Hunters saw him spending time with sardine fishermen in Western France, offering him a rare chance to engage with diverse lifestyles and viewpoints. After relocating to the U.S. in 2022, Wayan continued his pursuit of meaningful projects, embedding himself within various communities. His first major U.S. project, Pointe-au-Chien is not dead , focused on the resilience of a Native American tribe in South Louisiana. Wayan invested several months documenting the complexities of their challenges. He also journeyed along the U.S - Mexico border to create Title 8 , a series highlighting the experiences of asylum seekers in shelters. Wayan’s long-term project Behind the Plants: The Americans of Cancer Alley delves into the lives of marginalized communities living near a stretch of chemical plants along the Mississippi River. Most recently, in 2024, Wayan spent time in Kosovo, documenting the lives of Serbs living in isolated enclaves, where ongoing ethnic tensions and economic hardship persist. Wayan’s body of work reflects his commitment to telling the stories of communities often overlooked, shining a light on their struggles and resilience. Wayan has found what drives him to create meaningful work, it is a passion that will only grow, it has become his seed for change. “I will pursue this career, no matter the cost, as this gives me a unique understanding of the world surrounding me. This is also my way to raise awareness on topics worthy of attention: I feel like I can play a part.” Today, we focus on one project that has driven Wayan to devote his time and creative energies through visual storytelling: Behind the Plants: The Americans of Cancer Alley . Wayan’s project illuminates the communities suffering and struggling with the realities of what plagues their society, exposing the truths we often do not understand, or fear of simply confronting the truth. In the heartland of Louisiana, between Baton Rouge and New Orleans, a 150-mile corridor along the Mississippi River tells a tale of environmental degradation, social injustice, and economic struggle. This region, home to over 150 behemoth chemical facilities and oil refineries, is also home to a multitude of communities, predominantly low-income and marginalized. Nearly 50% of the residents are African Americans, their roots intertwined with the land for centuries, dating back to the days of slavery when they were forced to cut and process sugar cane on vast plantations that dominated the river parishes. The Environmental Protection Agency ( EPA ) reports a staggering 95% higher risk of cancer due to air pollution for residents in this area compared to the rest of the United States. The consequences extend beyond cancer, with prevalent cardiovascular, respiratory, reproductive, and developmental diseases haunting the lives of the people here. This tragedy has earned the corridor the morbid moniker, Cancer Alley , a term underscored by UN human rights experts in 2021 as a stark example of “environmental racism.” Despite numerous complaints and irrefutable research establishing the causal link between industrial activities and health issues, permits for these facilities persist, and major incidents continue to occur. Louisiana, the third-poorest state in the U.S., is witnessing a concerning regression in air quality while the rest of the nation progresses. This phenomenon gives rise to a perplexing paradox, aptly termed the Red State Paradox by sociologist Arlie Russell Hochschild. Despite being a leading state in generating substantial revenues from oil, natural gas, and chemical production, Louisiana finds itself among the worst in socio-economic indicators, highlighting a disconcerting disparity. This documentary goes beyond the statistics to unveil the personal stories of individuals and families living in the shadow of industrial giants. I explore the stark contrast between the industrial landscape and the daily lives of those who call this corridor home. Over a half-century, this riverside transformed from a collection of old plantations, tin-roofed shacks and verdant cornfields into an industrial juggernaut. Though the air quality here has improved significantly since the 1980s, as it has in the rest of the nation, the recent history is less encouraging. Not only is toxic air pollution in Louisiana’s industrial belt rising in absolute terms, but the estimated air quality also relative to its peers is getting worse, an analysis by ProPublica found. In parts of Cancer Alley , ProPublica estimated lifetime cancer risk is up to 47 times what the EPA deems acceptable. And the burden is not being shared evenly. Many of the new plants planned in Louisiana’s petrochemical heart are being built in or near communities that EPA models estimate already have some of the most dangerous air in America. The problems are especially acute in predominantly black and poor communities, like St John the Baptist, St James and Ascension Parishes. On the west bank, sugarcane stalks shoot out of sprawling green fields as far as the eye can see. Small family homes and grand plantation houses that have seen centuries’ worth of births, deaths and memories are sprinkled throughout the never-ending stretches. The cultural landscape is largely intact. The east bank has been taken over by a tangle of metal, concrete and smoke. Layers of rust-colored dust coat everything, including roads, buildings and a once-green welcome sign near Atlantic Alumina Gramercy Operations . Despite the Environmental Protection Agency issuing a warning about the plant's dangers in 2016, it continues to operate just 450 feet from the Fifth Ward Elementary School. St. John the Baptist Parish, where the plant is located, held the highest cancer risk in the country for a significant part of the past decade, with the risk being approximately 50 times greater than the national average in 2014. Even today, the cancer risk in the area remains nearly seven times higher than the national average. Wilma Subra, an activist and scientist, is highly involved in the area. She raises awareness on the risks to the local residents. She is also trying to get blood samples from the cows next to Denka Performance Elastomer to prove the risk on humans. On August 25, 2023, a massive column of smoke started to erupt from Marathon Petroleum refinery, in Garyville, LA. © Wayan Barre Melvin was a boilermaker for various industries. He was working in chemical tanks, near very hazardous products. He lives on Burton Road in St James, surrounded by tanks. He is very sick. © Wayan Barre Advertising on a Shell refinery plant, Geismar, LA. © Wayan Barre A poor African American neighborhood near Marathon Petroleum Refinery, Garyville, LA. © Wayan Barre “Blue & Son” grocery store. St James, LA. This is the last grocery store in St James. The surrounding industries have bought out the others. “Everything has a price. If they want to buy it, I’ll probably sell it.” — Kenneth © Wayan Barre Road toward Donaldsonville, LA, the town with one of the biggest and most polluting refineries of the area: CF Industries. © Wayan Barre Very few full-time industry jobs are held by local residents. Yet jobs were always promised when each new plant is proposed. Donaldsonville, LA. © Wayan Barre A grain elevator situated in the middle of a neighborhood in Reserve, LA. © Wayan Barre Melvin pointing at a grain elevator. Grain elevators pose life-threatening health and safety consequences, including particulate air pollution, which can lodge deep in the lungs and cause serious health problems. Welcome, LA © Wayan Barre Atlantic Alumina is the last operating alumina refinery in the United States. On January 7th, 2024, five workers were burned by the release of a high pH caustic solution. Gramercy, LA. © Wayan Barre Wallace is a small town of about 755 people. The majority Black community is divided in half by the Mississippi River. Sugarcane plantations once lined each side of the river. A look at both sides of the river reads like a before and after snapshot. © Wayan Barre Nestled beside Denka Performance Elastomer, James and his daughter reside in a predominantly Black community enduring decades of exposure to emissions from the nearby Denka plant. This facility, owned by Denka Performance Elastomer, specializes in the production of chloroprene, a chemical utilized in neoprene manufacturing a substance, federal regulators deem likely to cause cancer. LaPlace, LA. © Wayan Barre “Do you really think there is something with the air?” — James © Wayan Barre The activist and scientist, Wilma Subra is trying to get blood samples from the cows next to Denka Performance Elastomer to prove the risk on humans. © Wayan Barre Leroy near the fence separating his house and the chemical tanks. Workers came in the 60s to build the first one. His mother started to cook for them. Then he became a sandblaster helper. St James, LA. © Wayan Barre “It was fun. We made good money. Around $12/hr. Until one of the tanks overflowed. It happened a a few times until they got caught by EPA. We had a class action suit against them. Everyone got $100.” - Leroy © Wayan Barre Football practice in Lutcher, LA. © Wayan Barre Poverty rate is 22%. There are 64.6% of African American residents. © Wayan Barre “Every morning, I take my cup of coffee and my pills. Otherwise, I get sore throat and swollen eyes.” - Ali Ali used to work in the tobacco fields. He now works at Whitney Plantation as a staff manager. © Wayan Barre A freight train leaving a facility with chemicals. Donaldsonville, LA. © Wayan Barre Sugar cane planting behind Marathon Refinery. Many African American residents are descendants of slaves. This area was once dominated by vast plantations, now replaced by plants. Sugar cane was the first ever industrial polluter. Refineries were located close to the slaves' cabins. Garyville, LA. © Wayan Barre © Wayan Barre Marathon Refinery Plant totally surrounds the Zion Travelers Cemetery. A few years ago, visitors had to ask permission to access it. Bobby Taylor, founder of the Concerned Citizens of St. John, has his whole family buried in this cemetery. “The only reason why the cemetery is still there is that you can’t buy a cemetery.” - Robert Bobby, Reserve, LA. © Wayan Barre Rise St James, a grassroots non-profit, led by the activist Sharon Lavigne fights the petrochemical industries. A few months ago, they managed to halt the construction of Formosa Plastics, a $9.4B project composed of 14 plants in St James Parish. Various active non-profits also fight in the area. © Wayan Barre The pastor has been one of the first persons to fight the industries in St James, LA, before non-profits existed. Faith-based organizations are still the cornerstone of poor communities in the US. “Government is sold out to the industries. Things can hardly change.” © Wayan Barre On August 25th, 2023, a massive column of smoke started to erupt from Marathon Petroleum refinery, in Garyville, LA. © Wayan Barre © Wayan Barre Sani is 13 years old and suffers from asthma and various respiratory issues. Me: “Why do you stay here, while the tank burns next to you?” Janae: “To go where? We ain’t nowhere to go.” Garyville, LA. © Wayan Barre Prayer before a meeting. Residents gather to talk about pollution in the area, and potential actions. Welcome United States. © Wayan Barre Like other residents, Nicolette has had stage 4 cancer. She had parts of her breast removed. “Our children have asthma; our elders have cancer.” © Wayan Barre © Wayan Barre Wayan Barre is a photographer who has been moved by these devastating social changes and has created his visual narrative to reflect and address many of these issues that marginalized communities struggle with. His passion to expose the truth has driven his visual stories to focus on the people in the communities to better understand exactly who they are, how they got there, and what obstacles they face that need to be overcome to create an environment to have a better life. As we face unprecedented challenges — ranging from climate change and global pandemics to political polarization and economic disparity — the choices we make in how we relate to others become critical. This dilemma reflects the tension between communal responsibility and individual survival, raising important questions about what kind of society we wish to create. The future, marked by the complexities of change, demands a rethinking of how we define community and what it means to truly care for one another. Will we choose to build bridges, fostering inclusive systems of support, or will we allow the forces of division and neglect to erode the foundations of our shared humanity? Wayan is particularly sensitive to social and environmental issues and the impact on the communities that survive in these areas. He has worked on various projects, documenting communities, often marginalized and left over, overlooked and most often forgotten. We thank Wayan for opening our eyes to the reality behind the plants, exposing the communities that are suffering the effects of industrial pollution, while big business continues to profit while overlooking their supporting joining communities. Take the time to enlighten yourself on other social issues that plague our communities and follow the links to see more projects and to learn more about Wayan’s compelling work. You may find yourself wanting to care more and actively participate in helping to care for our neighbors. view Wayan Barre'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 >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

THE MEMORY OF THE FEMALE BODY: The Archetype of Beauty Lorenzo Vitali's photographic language is expressive with a poetic vein, showing his aesthetic values and his deep respect for women. THE MEMORY OF THE FEMALE BODY: THE ARCHETYPE OF BEAUTY April 6, 2022 INTERVIEW PHOTOGRAPHY Lorenzo Vitali INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Throughout history, human culture has found ways to capture beauty through art, whether it is in paintings, sculptures or photographs. For centuries, artists have been inspired by the female body as a source of beauty, with the understanding that beauty itself is ever-evolving and subjective. Lorenzo Vitali has continued this tradition, but with a modern twist. Lorenzo is an Italian photographer and visual artist based in Genoa. He has developed his own aesthetic sense by merging traditional elements with innovative approaches to create unique works of art. He pays special attention to shapes and materiality, and frames his works within a conceptual discourse with a strong focus on formal research. One of his latest projects, "The Memory of the Female Body: The Archetype of Beauty", seeks to crystallise female beauty through a series of photographs that hint at the archetype of beauty, much like the frescoes slowly fading away on the walls of ancient residences. In this project, Lorenzo explores beauty and emotionality through melancholic images that capture fleeting moments of beauty before they vanish, as if in a dream. Through his photography, Lorenzo seeks to remind us of the beauty that is all around us, often hidden in plain sight, and to give us pause to contemplate the ever-changing nature of beauty. In short, Lorenzo Vitali presents us with a creative and experimental approach to capturing beauty that is both thought-provoking and visually captivating. “I would like my works to show not only my aesthetic values but also my deep respect for other human beings and in particular for women. What I try to suggest, furthermore, is a different and personal perspective in interpreting the reality that surrounds us. The result is a photographic language that I would define expressive, accompanied by a poetic vein.” IN CONVERSATION WITH LORENZO VITALI THE PICTORIAL LIST: Lorenzo please tell us about yourself. LORENZO VITALI: I was born in Milan and I’ve been living in this large and very stimulating city all my life. I started photographing since I was 8 years old when I was given a Kodak Instamatic with which I took thousands of slides. However, my life was in medicine for many years, working in hospital as a doctor first and then as a director, but I have never neglected photography. However, in recent years, photography has become my main activity. TPL: What draws you to photography and art? How did your journey into photography begin? LV: Since I was a boy, the whole world of visual arts had a great fascination for me: visiting art galleries, Italy is so rich of, allowed me to get to know the work of the great painters and outlined my ideas about aesthetics. Photographic books and exhibitions have brought me into contact with photographers who had made the history of photography. The aesthetic research of shapes sculpted by light has always attracted my gaze in an irresistible way. As a boy I analyzed reality through the viewfinder of my first Reflex (an Asahi Pentax Spotmatic) and this proved to be the trigger which set off most of my ideas. Observing the image projected by my Durst enlarger on the work surface, then seeing it disappear and reappear in the development bath was an intense and unforgettable emotion. My first experiences were in the field of photo reportage and fashion, but I would say that in the course of my life I have explored almost all photographic genres because I am curious. I think this helped me hone my technique. TPL: In your project THE MEMORY OF THE FEMALE BODY: THE ARCHETYPE OF BEAUTY you describe it as "a memory of beauty, which appears and then vanishes like a fresco" blurring the female body as if it is now a part of history. How and when did this project first manifest for you? What is the full story behind the project? What was the inspiration? LV: For some time now the theme of beauty, and female beauty in particular, has been one of the main research fields of my business. However, I have never taken glamorous photographs and, if anything, the study of form was the very center of my interest. In this work, however, I wanted to go further and express more what remained fixed in my mind rather than what I could observe with my eyes at the moment of the shot. The reference to the shadows of Hiroshima or the casts of Pompeii came naturally. The aim was to give a materiality to my memory. So we can say that the inspiration came from my lived life and from my memories which are therefore sometimes sharper and sometimes more nuanced. Overall, I think I have a poetic vision of this theme. TPL: What are any lasting impressions you would like to leave the viewer? What is their 'takeaway'? LV: I think that the viewer in front of a single work can grasp some aspects that I wanted to highlight. The concept of beauty, as an example. If an observer has a different sensitivity, he will have his own personal perception, in the end. And that might be very different from my original one. However, I would like my works to show not only my aesthetic values but also my deep respect for other human beings and in particular for women. What I try to suggest, furthermore, is a different and personal perspective in interpreting the reality that surrounds us. The result is a photographic language that I would define expressive, accompanied by a poetic vein. TPL: Do you have any favourite artists and photographers? If you could just choose one photographer to photograph alongside for a day...who would you choose? And why? LV: Apart from the great authors who made the history of photography, among the contemporaries I greatly admire the work of Gregory Crewdson and his way of interpreting staged photography. Gregory Crewdson would be my choice: I really love his ability to recreate perfect sets that seem at first glance shot like a reportage and are instead the result of the work of many people who spend a lot of time setting up the scenes and shooting. However, I would only photograph with him as long as he paid the expenses. Unfortunately, I know this kind of photography requires a very high budget I couldn’t afford at the moment. There is no causal link between what I write “with light” and what I write “with a pen”. They arise from a single idea that is inside of me. So I can't separate the two because it's just one thing. TPL: What do you think is your next chapter in your exploration with future projects. LV: I have several projects in the process of being set up. As usual, I start by researching the subject and this always takes a long time. So I still don't know which of my projects is closer to the final realization, even if a project that talks about architecture and metaphysics is now in a fairly advanced stage. TPL: Is there a special photographic moment you recall that will always remain with you...one maybe that changed your view of the world in which you photograph in? LV: I think that after having explored various photographic genres, at some point you feel the need to stop and think for a while and then follow a fairly precise path. This happened to me a few years ago and for a year I stopped taking pictures. I resumed when I realized that I had to look at the visual arts as a whole and not at photography and that's it. This broadened my vision of the world to explore. It became clear to me that the important thing was not so much the medium I used to express myself, but only what I had to say mattered. Let's say that therefore I always look at reality with an attitude more aimed at having an outcome in which the technique I use from time to time must never be the first thing that strikes the observer, but only the support that allows me to establish a connection with the viewer. TPL: Is there any advice that you would give yourself if you started photography all over again? LV: Perhaps the only advice I would give myself is to photograph less and think more, but I guess I wouldn't follow that. 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? How much post-processing do you do? LV: Good equipment is essential to maintain high quality standards. However, we must never forget that it is only a means to an end. In the past I have used all kinds of equipment, from rangefinder cameras to classic film Reflex. From 2007 I switched to using digital cameras, always DSLR (Canon in general) with various lenses. Recently I have also very much appreciated mirrorless cameras and in most cases I am using a Canon EOS R5 with both my old EF and new RF lenses. I prefer preferably bright focal lengths in relation to the type of images I have to make. Perhaps I prefer the short and standard focal lengths. Post-production is an integral part of photographic work and must be used in coherence with the type of photography we are making: therefore the processing in documentary works is minimal while it becomes more important when it comes to conceptual interpretive photography. I personally post-produce my photos. TPL: When I am not out photographing, I (like to)… LV: I like doing lots of things: eating great food and drinking good wine, meeting interesting people and rambling around. But I often end up thinking about what I could photograph. Lorenzo Vitali's project is an inspiring and unique work of art that pays homage to beauty. His creative approach to photography, combined with his conceptual discourse, offers viewers an opportunity to contemplate beauty in a new light. It is a reminder that beauty is all around us, but that it is ever-changing and always fleeting. We invite you to take a moment to explore Lorenzo Vitali's work and gain a newfound appreciation for the beauty that exists in all its forms. VIEW LORENZO'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

A former high school and college history teacher, who found a passion in photography when the Christos set up the saffron "Gates" in Central Park in 2005. Starting with a 2 pixel Point and Shoot digital camera, I progressed to interchangeable lenses when Olympus introduced the mirrorless E-M5 in 2012. Then in my early eighties, I scoured Central Park and Riverside Park for subject matter, while taking a class here and there to learn new techniques. I have been fortunate to have a number of my photos selected for curated exhibitions nationally and internationally, and I have also had photo essays published in my local online newspaper, The West Side Rag. My submission on "Readers" stems from my fascination with the reader as a solitary and silent figure who is transported into a private world through the mental process of deciphering elaborate markings on a physical surface. Readers assumes varied poses in their temporary state of inactivity and equilibrium. We cannot know the thoughts of readers engaged in their activity. Even their poses do not give them away. Nor do the varied settings in which they pursue reading. It is best neither to disturb nor startle a reader, but to respect the private bubble in which they reside. MILDRED ALPERN A former high school and college history teacher, who found a passion in photography when the Christos set up the saffron "Gates" in Central Park in 2005. Starting with a 2 pixel Point and Shoot digital camera, I progressed to interchangeable lenses when Olympus introduced the mirrorless E-M5 in 2012. Then in my early eighties, I scoured Central Park and Riverside Park for subject matter, while taking a class here and there to learn new techniques. I have been fortunate to have a number of my photos selected for curated exhibitions nationally and internationally, and I have also had photo essays published in my local online newspaper, The West Side Rag. My submission on "Readers" stems from my fascination with the reader as a solitary and silent figure who is transported into a private world through the mental process of deciphering elaborate markings on a physical surface. Readers assumes varied poses in their temporary state of inactivity and equilibrium. We cannot know the thoughts of readers engaged in their activity. Even their poses do not give them away. Nor do the varied settings in which they pursue reading. It is best neither to disturb nor startle a reader, but to respect the private bubble in which they reside. LOCATION New York USA CAMERA/S Olympus E-M5, Olympus E-M5 Mark II WEBSITE http://silverscreenproductions.zenfolio.com/ @MEANDNUBS @MILDRED.ALPERN FEATURES // Readers

EXPLORING OLD DELHI The streets of Old Delhi provide countless motifs for Abhishek Singh's photographic exploration, finding unique situations in everyday life. EXPLORING OLD DELHI October 19, 2020 INTERVIEW PHOTOGRAPHY Abhishek Singh INTERVIEW Karin Svadlenak SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Abhishek Singh has a big passion for photography. He was born and raised in India, in the small town of Gorakhpur in Uttar Pradesh, and now lives in Delhi. Trained as an electronics and communication engineer, he became interested in digital cameras during his university years. His drive towards photography became so urgent that he even sold his scooter to get himself a digital camera, and he joined a professional photography group to pursue his passion. The streets of Old Delhi provide countless motifs for his photographic exploration. Abhishek's goal is to show people's working lives and daily routines, finding unique situations in everyday life. Their livelihood, how they survive, and their emotion and based on their daily life, Abhishek's want to include some unique elements which we can get on the spot. He shared with us his vibrant images of life in his home country. I will not leave until you break (जबतक तोडेंगे नहीं तबतक छोडेगें नही ) Majhi - the Mountain Man “I was born in a small town of Gorakhpur in Uttar Pradesh in a farmer family. My strings are directly attached with the mud of my village. I did not have a silver spoon when I came to this life on earth, but I have the immense will to soar on the highest of the peaks in the field of photography.” IN CONVERSATION WITH ABHISHEK SINGH THE PICTORIAL LIST: Abhishek, please tell us about how you became interested in photography. ABHISHEK SINGH: I am highly grateful to my parents for bringing me up and providing me with good moral and formal education against all the extreme conditions in the family. I have done my graduation in B.Tech (Electronics & Communication), and technical knowledge pushed me towards the world of digital cameras. The spark towards digital photography was ignited then, but I was not able to fully justify my passion because of family liabilities. As my family is not very well off financially, I had to earn my bread and butter, but the spark of photography which was kindling in my heart kept me pushing towards this wonderful world of my interest and passion. Due to a shortage of funds I was shooting with an analogue camera, and it was killing me from inside. I knew I had to buy a good DSLR camera to fulfil my dreams. This left me sleepless for several nights. I had to sell my scooter to buy a digital camera. From January 2016 onward I joined a professional group to pursue my dreams. After immense endeavours and by the grace of God and blessings of my parents I was able to climb towards my goal. I was married to Raj Laxmi in 2017, my beloved wife who has supported me in every step and every bit, through thick and thin to achieve my goal in photography. She is playing a very significant and concrete solid role to pursue my dreams in photojournalism. We both are trying really hard to take my dreams to touch the success sky. TPL: Tell us a bit more about photographing on the streets of Delhi: What are some of your most influential moments that you have captured? How has COVID-19 affected your city, the people and your photography? AS: Old Delhi (Chandani Chowk) is my favourite place, where I see people doing their work. They are early birds here. On the street of Old Delhi we can get photographs related to our daily life. There are so many vegetable, spice, flower vendors there. That area is very unique for photography because their buildings are two hundred years old, it has a heritage status. For me one of the most important images I captured there was the relationship between a dog and a man. He was feeding his ill dog as if he were feeding his son. It shows that still there is humanity in our India among people. Covid-19 has affected many things. People were laid off from their jobs due to this, it started financial problems in their lives. So many people have left here because they didn't have anything to survive on, so they had to move from here. It has also affected photography, we are not able to go outside, and everything is online here. Now we are not able to focus on practice, we are putting the focus on theory, but practice is more important than theory. But one thing is also good in this pandemic situation: It has impacted positively on our environment becoming cleaner. TPL: Where do you find your inspiration? AS: I find my inspiration in my family, they believe in me. I get inspiration from their happiness. TPL: Do you prefer to shoot alone or with friends? AS: Most of the time I prefer to shoot alone. TPL: Who are your favourite artists and photographers? AS: My technical field ignited the spark in me towards the world of digital photography, but it would be a crime if I do not mention the name of Sir Sudharak Olwe, a Mumbai based documentary photographer, who turned my world upside down and kindled the real fire inside my heart to excel in the field of photojournalism. Sir Olwe was awarded Padma Shri, one of India’s highest civilian honours for his social work in 2016. It gives me massive motivation to use my knowledge and talent towards the social benefits of society, my village, my town, my state and my country through photojournalism. Raising and eradicating society's evil issues through my photojournalism gives me the thrust to continue towards my goal. If I am able to do my best in this regard, it will be my greatest happiness. Self-respect and internal satisfaction are the golden keys for my internal happiness. I want to show their livelihood, how they survive, and their emotion and based on their daily life. TPL: Has your style of shooting changed since you first started? AS: When I was a neophyte I would click anything, like birds, flowers, toys, light trails, long exposures, but now I have started working on a series . I want to work on objective photography. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AS: In photography the subject is the most important, you have to think about your subject from the core of your heart. I also feel in the same way. The deep bonding of a photographer towards the subject is the key to success. If I take up a subject, first I feel it in my heart and mind then I start to act on it. I am the happiest man when I am out photographing. Becoming known for social work in my society with the help of photography and photojournalism is my ultimate goal. 50mm and 18mm focal length are the most suitable for me. TPL: Have you ever been involved in the artistic world before photography? AS: Yes I have been involved in the artistic world before photography. Most of my friends are artists. I have visited exhibitions with them. With one of my friends, Mr. Shashikant, who is a printmaker, I have visited so many exhibitions. Another friend, Mr. Kaushal, is a painter. I am fond of theatre. In theatre artists play live. I love the theatre world, including plays and musical theatre, for example "Charan Das Chor" (चरण दास चोर) , "Tender of Taj Mahal" (ताज महल का टेण्डर). TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: Currently I am working on a series about river rejuvenation, recycling of waste, life in the biggest garbage dumping yard of India, but I also spare some time to take a few good shots here and there. I have an assignment from the government, but I can’t share those photographs yet before it is finished. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AS: Being an artist is never a rational choice, no one can decide to be an artist, every real artistic action doesn’t employ awareness or will. All those who continuously need to remind their audience that they are artists by using their art to compensate for a lack of social skills or to boost their ego are just exhibitionists, shopkeepers of their narcissism and myth maniacs. It is not only about the work of the artist, but to live your trade, not only make a living from it. But to succeed and to live well as a paid artist. I see myself as successful and learning new skills that will benefit and help me achieve my career goal. I am eager to experience new challenges and excited to invest 5 years’ time specialising in a career , I find it extremely interesting and motivating. TPL: “When I am not out photographing, I (like to)… AS: When I don’t spend time on photography I like to spend time with my family, and I visit theatres to see plays.” The streets of Old Delhi provide countless motifs for Abhishek's photographic exploration, finding unique situations in everyday life. Follow Abhishek on Instagram to follow his journey. VIEW ABHISHEK'S PORTFOLIO read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

LET THERE BE LIGHT Kevin Icabales' love for humorous and candid moments led him down the path to street photography. LET THERE BE LIGHT March 3, 2020 INTERVIEW PHOTOGRAPHY Kevin Icabales INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Whether it's capturing candid moments or telling a unique story, Filipino street photographer Kevin Icabales has a style all his own. With a bit of tongue-in-cheek humour, he has been able to capture a scene in a way that only he can. In this interview with Kevin, we ask him about his journey into street photography and what motivates him to pursue such unique and creative photography. From his beginnings to his current success, we explore the art of candid photography through the lens of Kevin Icabales. And God said, let there be light, and there was light. - GENESIS 1:3 “Photography is all about light. Seeing and experiencing the wonders of His creation urges me to see beyond what I cannot do. I know that I can be creative because He created me in His own image and likeness.” IN CONVERSATION WITH KEVIN ICABALES THE PICTORIAL LIST: Kevin, can you start off by telling us about how you first became interested in photography? KEVIN ICABALES: I started photography after I graduated from college. My twin aunts bought me a DSLR for a graduation gift. I started shooting weddings and concerts. I realized that I love taking pictures of decisive moments or candids. That passion led me into street photography and I knew where I was called to do. TPL: Where do you find your inspiration? KI: I find my inspiration from my family, when I let them evaluate my work, and also, how they will respond emotionally towards my photos. Also, seeing the viewers change their ways and making them reflect their lives from my photographs makes me eager to continue doing so. TPL: Has your style of photographing changed since you first started out? KI: My style of photographing has changed a lot when I started street photography. I am more aware of what to put and exclude inside my frame. It is like making music with lots of scales in your mind, then eventually you will pick the best melody that works. For me, this genre should be the start of all aspiring photographers. You will not just learn the technical stuff but also it will build your character as well. TPL: Where is your favourite place to photograph? KI: My favorite place to shoot is around metro Manila in the Philippines. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? KI: I believe that an equipment can never outdo what your vision wants to create. These are just mediums of your creation. Let us break the mindset that says, "You take good pictures because you have an expensive camera". You cannot say that "the food is delicious because the stove is expensive", same goes with photography. If you have the means to buy higher equipment, then go for it. But always remember that the best camera is the one that you have at the present time. I find my inspiration from my family, when I let them evaluate my work, and also, how they will respond emotionally towards my photos. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone in your genre? KI: Always be strong and humble. Be a man or a woman of integrity because it all starts there. Be open and accept constructive criticisms towards you and your works. Meet new like-minded people, build rapport and inspire one another because each of you is a unique individual. TPL: Have you ever been involved in the artistic world before photography? KI: I was inclined to music before photography. I was a guitar and vocals in our rock band when I was in college and I also write songs. TPL: Do you have any favourite artists or photographers you would like to share with us? KI: My favorite photographers are Henri Cartier-Bresson, Robert Doisneau, Garry Winogrand and Elliott Erwitt. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KI: I am currently working on an Ad Gone Wrong project. I'll let you know once available. TPL: "If I wasn’t photographing what would I be doing?... KI: Singing and songwriting." In his rise to street photography excellence, Kevin Icabales has truly found his own unique style. His candid images and creative eye for storytelling have made him a successful photographer. As he continues to explore the art of capturing candid moments, be sure to follow Kevin on Instagram to stay up-to-date with all of his photography. With his unique vision, Kevin Icabales will no doubt continue to make waves in the world of street photography. VIEW KEVIN'S PORTFOLIO Kevin's website >>> Kevin's instagram >>> Kevin's facebook >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

5 A.M. Canadian photographer Brian Douglas stepped outside of his 9 to 5 world to document people, places and livelihoods at 5 a.m. 5 A.M. Documenting the people, places and livelihoods of the night shift February 11, 2022 INTERVIEW PHOTOGRAPHY Brian Douglas INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link As the sun peeks over the horizon and the stars begin to slowly fade away, a new day begins. For some of us, it's time to roll out of bed and start the daily grind. But for photographer Brian Douglas, it's time to get to work. For Brian, the early morning, just before dawn, is the ideal time for capturing stories. As a photographer, Brian has a goal to create captivating images that draw in the viewer, telling the story in its raw and honest form. Having traveled to various parts of the world, Mexico, Hawaii, Cuba as well as the East and West Coast of Canada, his camera is always ready to capture something special. But it was at his home in Ontario that Brian developed The 5 A.M. project - a passion project with an interest to step outside of his 9-to-5 world and document people, places and livelihoods at or as close to 5 a.m. as possible. While most of us are tucked away in bed or commuting to our workplaces, Brian is out there catching the moments the rest of us often miss. Join us as we explore Brian's journey and find out what inspires him to capture these stories during The 5 A.M. project. “Every day 5 a.m. passes me by. While I am asleep there is a world that I am completely detached from. When I begin settling in for the evening there are countless others getting themselves ready to start their day. From bakers and farmers to gas station attendants and factory line workers, we live in a world that never truly sleeps. Productivity and services continue to be provided while many of us are asleep and dreaming. When I wake up in the morning I can, without a second thought, enjoy freshly made bread, produce picked hours earlier or even a newly paved road.” IN CONVERSATION WITH BRIAN DOUGLAS THE PICTORIAL LIST: Hello Brian. In your project 5 A.M., your photographs bring together the worker and the workplace. How did bringing these together first manifest for you? Why was it important for you to incorporate both images together as a diptych for the presentation of the image as a whole? BRIAN DOUGLAS: Presenting the worker and the workspace as a diptych in 5 a.m. was a way for me to try and tell a story in one image. Far too often, in my opinion, the people behind the work go unrecognized. We may know the name of a company and enjoy their projects and/or services but how often do we get to see the person who, in some way, helped create that experience for you? By pairing them as one piece my hope was to tell more of the story. This is Doug and he brews the beer you’re currently at home enjoying. Or this is Jesse and Kate and they support some of our most vulnerable people who, for whatever reason find themselves without a stable living environment but deserve as much as anyone else love and care. TPL: What is the full story behind the project? What was the initial inspiration? BD: When I first moved to Kitchener-Waterloo over ten years ago with my wife we lived in a Loft that was once home of the Kaufman Shoe Factory. We were downtown and surrounded by this amazing industrial landscape. Kitchener was built around heavy industry but when I arrived many of the old factory spaces sat empty. The industrial landscape was changing, and I quickly found myself exploring and documenting these buildings. I knew that many would be converted into new spaces (more lofts or office spaces) or they would be torn down. I wanted, in my own way, to create a record of these buildings. These factories employees, thousands of people through their lifetime and sustained a community. I felt that story deserved to be preserved. Once I had pretty much exhausted the spaces I could access and as the work from this project was exhibited and shared within the region, I began looking for my next passion project. While reflecting on my time in those factories I would often think of how empty they were while also wondering about how alive they once were. I would imagine the connections, the conversations, the friendships, and relationships that were formed during the hours spent working within those four walls. As much as I loved creating this body of work, I knew it was missing one thing: the faces of those people. The project has given me a newfound respect for the world of work and ignited a passion in me to further explore work and industry as a theme within my photography. One night I was brainstorming out loud with my wife about what my next project should be. I knew I wanted to give a face and voice to a segment of the working world and she said, “What about night shift workers?” As soon as the words left her mouth, she regretted it, but I was all in! The next day I started crafting my artist statement, was on Google researching shift work jobs and not long after that 5 A.M. was born! TPL: How does 5 A.M. differ from your previous work? Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects? BD: 5 a.m. was different from previous work in that it included portraits. Before this project started, I had not taken a portrait since grade 10 photography. Never did I consider myself to be a portrait photographer. I was terrified! Buildings don’t move. They don’t talk. They are just there. But photographing people was the exact opposite! There was a reason I never photographed them. I was scared. Felt unqualified and was 100% second guessing myself for venturing down this road. Jump forward almost 10 year (I started this project in 2013) and I cannot tell you how happy I am that I took this challenge on. Not only have a learned so much as a photographer but also personally. This was a project in which I truly leaned on my training and skills as a Social Worker: establishing connection, making people feel comfortable and at ease within our interactions together, asking questions and trying to, in my own way, get a sense of who these people are so that I could photograph them in a way that they would be proud of. I plan to, as soon as it is safe to do so, add a few more portraits to this body of work. I have some ‘wish list’ jobs I want to add to this project; a worm picker being top of my list! After that I have considered maybe a book to bring this project to an end. Before that though I hope to exhibit it more. I do have one upcoming exhibit set to be hung sometime in February. Currently I have a few new project ideas on my mind. One of those projects further expands on work and industry as a theme. The other project is purely portrait based but would incorporate some more purposeful interviews to tell stories differently, and a project I have had brewing for several years now would be a photo/video documentary titled “Anticipations: In life a death” and would very much blend my world of social work with my world of photography to tell, what I hope, would be a powerful story of what life teachers us about death and what death can teach us about life. Jan-Michael - Firefighter - Fire Station 2 - Kitchener © 5 a.m. Brian Douglas Eddie - Supervisor, Operations - Region of Waterloo Paramedic Services © 5 a.m. Brian Douglas Andy - Nurse - Grand River Hospital © 5 a.m. Brian Douglas Heidi - Midwife - K-W Midwifery Associates © 5 a.m. Brian Douglas Bruce - Constable © 5 a.m. Brian Douglas Florance - Spiritual Care Provider - Grand River Hospital © 5 a.m. Brian Douglas Overnight Program Support Workers © 5 a.m. Brian Douglas Mary - Housekeeper © 5 a.m. Brian Douglas Dan - Dairy Farmer - Cressridge Farms © 5 a.m. Brian Douglas TPL: Brian please tell us about yourself. BD: I am a father, husband, social worker and photographer. I grew up in Holland Landing, Ontario about an hour and a half North of Toronto where my parents owned a 14-acre forest. Being able to just go outside and ‘get lost’ in the woods for hours on end was an amazing sense of freedom as a kid! At the very back of the property (the ‘neighbours' so to speak) was a small scrapyard. I would often find myself with my siblings or friends exploring the old cars and school buses and it was the first place I went when I was given a disposable camera as an elementary student for a class project. I was probably 8 or 9 years old and already an urban exploring photographer! That was like 30+ years ago but urban exploring was truly my first love as a photographer and shaped my perspective as a photographer and many of the themes of my work. I currently I live in Kitchener-Waterloo, Ontario, where I work full-time as a social worker. I take on freelance photography/video opportunities when they present themselves, but tend to put a lot of my time and energy in to passion projects such as 5 A.M. TPL: What draws you to photography and art? How did your journey into photography begin? BD: I touched a bit on what drew me to photography in the previous question, but that first disposable camera really did give me this amazing, eye opening opportunity to capture the world around me. I do not remember much about growing up or school as a kid but this has always stood out. I still have some of those 4x6 prints kicking around somewhere! My next venture into photography was high school when I had the chance to truly learn the art of photography; rolling my own film, shooting film, developing it in the darkroom and just loving the ability to create. Although I don’t shoot film anymore, there really is nothing like watching your photograph start to slowly appear on the paper. After high school, I still did a bit of photography but lost touch with it for a bit. I didn’t have a darkroom, I was busy in University and it wasn’t until graduated and decided to purchase my first DSLR that I reconnected with my love of creating images and I haven’t stopped since! What I love about photography is the idea that we all see things in a slightly different way. I also love the challenge, especially with some of my older work, of making something that typically could be viewed as an ‘eyesore’, mundane or not worth a second glance beautiful and relevant and worth a closer look. With my more recent work such as 5 a.m. and some of the street photography I have been doing, trying to capture the essence of a person in a portrait or to make what could be seen as an otherwise ordinary moment on the streets captivating is incredibly rewarding and enjoyable! It also challenges me to grow, learn and adapt as a photographer. One of the things I enjoy about looking at the work of others is the inspiration that it gives me to push myself. There are some other local photographers who shoot the same streets I do, or who create portraits and it drives me to experiment, to look at their photographs and figure out what they are doing that draws me in to their work and how I can, in my own way and with my own style, apply some of those elements. The project has given me a newfound respect for the world of work and ignited a passion in me to further explore work and industry as a theme within my photography. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BD: A few of my favorite local photographer would be Wayne Simpson (@waynesimpsonphoto), Dan Dunlop (@the__stash) as well as Karl Kessler who is not on any social media. I am also really inspired by Harvey Wang (@harveywang_ny) who my friend Karl introduced me too. I also really love the work of Ben Thouard (@benthouard), Clark Little (@clarklittle) and Ray Collins (@raycollinsphoto) all of whom have a focus on the ocean! TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? BD: Hmm…this is a really tough question. I’d probably want to shoot with Clark Little for a couple of reasons. The first reason is because I do love his work! But the second reason is that he is based on the North Shore of Oahu in Hawaii. Growing up I had the privilege of travelling to Hawaii with my family on several occasions. We would frequent the North Shore to watch surf competitions, to have the waves crash on us at the beach or to sit back in awe on the days the waves were just too big to go anywhere near the water. A chance to go back AND to learn to photograph those waves from someone like him would be priceless! 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? How much post-processing do you do? BD: My gear for sure helps but I would say the lenses more so than the camera body itself although the camera itself has been important to in order to produce high quality images for print. For this project, to date, the camera body has been exclusively the Canon 5d Mark III although I have recently upgraded to the r6 as I explore more video. For the setting shots I used the Canon 16-35mm. About half the portraits were shot with a Zeiss planar 50mm, f1.4 that a close friend lent me. When he moved, I purchased a Sigma 50mm f1.4 art lens. These two lens tend to be my go to lenses for work like this. If I am on the street I do enjoy the Sigma 50mm but I also really enjoy my Canon 24-70 f2. For street photography I love my Fuji X 100V although I have been wandering with the r6 lately. But I do still reach for the Fuji when I am going out to shoot the streets! In terms of my post-processing, it is minimal. It is rare for me to longer of on an edit and if I do, I tend not to spend more than 10-15 minutes. Dariuza (Derek) - Taxi Driver - City Cabs © 5 a.m. Brian Douglas Anonymous - Production - Valley Blades © 5 a.m. Brian Douglas Christain - Overnight Motivator © 5 a.m. Brian Douglas Chuck - Racker - Kuntz Electroplating © 5 a.m. Brian Douglas Doug - Brewer - Brick Brewery © 5 a.m. Brian Douglas Jason - Front Desk Ambassador © 5 a.m. Brian Douglas Nanct - 9-11 Dispatch © 5 a.m. Brian Douglas Patty - Baker © 5 a.m. Brian Douglas Oliva - Nurse - Grand River Hospital © 5 a.m. Brian Douglas Mike - Newsreader - CBC Radio Kitchener-Waterloo © 5 a.m. Brian Douglas Vernon - Sales Representative - Little Short Stop © 5 a.m. Brian Douglas Evelyna-Sophia, Shannon and Raina - Servers - Mel's Diner © 5 a.m. Brian Douglas Al - Tow Truck Driver - Active Towing © 5 a.m. Brian Douglas TPL: Is there any advice that you would give yourself if you started photography all over again? BD: Challenge yourself more to step outside of your comfort zones. I think I would also tell myself to create a network of other photographers who you could connect with, learn from and support each other. I probably also would tell myself to embrace social media. I think back to the urban exploring I was doing (and continued to do) long before and after Youtube, Instagram, etc. and to some of the success photographers have had on those platforms with that work. I feel like I was ahead of the game as a photographer but behind the 8-ball in my uptake of the new formats to share work. TPL: When I am not out photographing, I (like to)… BD: When I am not out photographing (or working) I tend to be home (or out and about) with my family; you may also find me playing guitar or playing something on the PS4. Although the early morning is a time when most of us are still asleep, with Brian's guidance we can open our eyes to the world and appreciate the stories that are waiting to be told. We invite you to join Brian on his journey of discovery and explore what inspires him to capture these stories. VIEW BRIAN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. 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More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

For me photography was a life-saver. It picked me up at a difficult time in my life and I have not let it go ever since. Originally from Malaysia, I have lived in various countries and I am now based in Switzerland. Photography has changed my view of the world and has made me see things differently. I like to mix genres but my greatest photographic passion right now is documentary photography, inspired by my travels, the people I meet, the different cultures and the different ways of life. CALLIE EH For me photography was a life-saver. It picked me up at a difficult time in my life and I have not let it go ever since. Originally from Malaysia, I have lived in various countries and I am now based in Switzerland. Photography has changed my view of the world and has made me see things differently. I like to mix genres but my greatest photographic passion right now is documentary photography, inspired by my travels, the people I meet, the different cultures and the different ways of life. LOCATION Yong Peng MALAYSIA CAMERA/S Leica Q WEBSITE http://www.callieeh.com @CALLIE_EH FEATURES // Modern Nomads Mini Documentaries

Christina Simons is an award winning international documentary photographer focused on human rights. Her work has been exhibited throughout Australia, the United States, England, Spain, Russia and Mexico. Part Icelandic and American, she resides in Australia as a true citizen of the world speaking multiple languages. Having worked in the visual arts industry for over twenty-five years she is a technical master of imagery. Her work traverses many interests including travel, lifestyle and portraiture and is represented in publications such as The New York Times and The Guardian UK as well as working with several NGOs such as Medicines Sans Frontiers and UNICEF. Her passion for human rights and civil liberties have led to series such as “The Haiti Project” on children in domestic servitude, Women’s health in the Philippines and Aboriginal Education in Australia; not to mention her solo-exhibition and multi-award winning series “Running to Nowhere” on Central American Refugees. Her curiosity of subcultures has produced projects such as award winning series "Derby Girls" and multi-award winning series "Lil Bullfighters" of Mexico. With a passion for justice and compulsion to observe Christina Simons provides key commentary into the unknown issues, places and aspects of this world. CHRISTINA SIMONS Christina Simons is an award winning international documentary photographer focused on human rights. Her work has been exhibited throughout Australia, the United States, England, Spain, Russia and Mexico. Part Icelandic and American, she resides in Australia as a true citizen of the world speaking multiple languages. Having worked in the visual arts industry for over twenty-five years she is a technical master of imagery. Her work traverses many interests including travel, lifestyle and portraiture and is represented in publications such as The New York Times and The Guardian UK as well as working with several NGOs such as Medicines Sans Frontiers and UNICEF. Her passion for human rights and civil liberties have led to series such as “The Haiti Project” on children in domestic servitude, Women’s health in the Philippines and Aboriginal Education in Australia; not to mention her solo-exhibition and multi-award winning series “Running to Nowhere” on Central American Refugees. Her curiosity of subcultures has produced projects such as award winning series "Derby Girls" and multi-award winning series "Lil Bullfighters" of Mexico. With a passion for justice and compulsion to observe Christina Simons provides key commentary into the unknown issues, places and aspects of this world. LOCATION Melbourne AUSTRALIA CAMERA/S Nikon D800 WEBSITE http://www.christinasimons.com/ @CHRISTINASIMONS FEATURES // Running to Nowhere Beyond the Story