PICTORIAL STORY PANDEMIC POETRY July 31, 2020 PICTORIAL STORY Photo collages and story by Victoria González García Introduction by Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Victoria González García has an eye for capturing beauty and a heart for portraying social issues. This Argentinian photographer based in Madrid, is no stranger to using her art to make a statement. During the Covid-19 pandemic crisis, she sought out to use her camera to capture an issue that has come to represent this tumultuous period – the pollution caused by discarded protective masks and gloves. Through a project of visual poetry, Victoria has made it her mission to bring attention to this all-too-common problem. Follow her personal account as she shines a light on the environmental effects of this pandemic. From the first moment the Covid-19 health emergency was declared in Madrid, I began to record everything. The declaration caught me in the middle of the city. On the way back to my house on my bike I stopped and took pictures of everything that was happening around me. Madrid, the city where there is a bar on every corner, where people are out and about no matter what time it is, the city that exudes vitality and noise; a city where, little by little, a science fiction film was beginning, my city, being silenced right in front of my eyes. As the days went by on my trips to the supermarket, once a week, I began to notice that the streets were getting dirtier and dirtier and that the urban waste was no longer the same. It had changed. I began to feel that space had mutated completely. It was impossible not to see the plastic masks and gloves, of all colors and sizes, that were polluting every space on the sidewalk or street, flying and pirouetting in the wind. I felt the need to immortalize everything that my eyes saw in amazement. Due to the great capacity of transmission of the coronavirus, the obligatory use of disposable masks and gloves, and the bad waste management practices of their users, the contamination of our planet seemed to grow and grow, overflowing. The pandemic changed some of our daily habits. We were locked up and we were supposed to generate less waste, but the opposite happened. During the course of the quarantine, I observed many profiles on social networks with different photo postings that referred to trips and, for the most part, all proclaimed the urgency of being outdoors, of living with nature. How contradictory and ironic it is to desire those sites, but to do nothing to care for them and preserve them. This is how Poetics of the Pandemic was born, a visual reflection of the 50 days that the quarantine lasted in Madrid. In the project I use my own photographs and some in the public domain, as well as videos with still images. I counterpose images of the waste generated in the pandemic with natural scenarios, looking for a complementarity and, at the same time, a visual reflection of this great problem that grows hand in hand with Covid-19. The coronavirus will pass, but the rubbish will stay. The idea of using images in the public domain was born out of the impossibility of traveling and moving to places outside my home. I use visual poetry as an instrument, an experimental form in which the image, in all its facets, prevails over the other components, taking into account that artistic creation is already a discourse in itself. The isolation made me go through all states of mind, but through photography and art I was able to sublimate my anguish. In my personal case, it was a time of much productivity: I took up old projects and developed others. Among these is this project, with which I wish to generate awareness through my photographs, about the use and disposal, mainly, of those elements that protect us against the spread of the coronavirus. © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García © Victoria González García This is my appeal to society, to people's sense of responsibility and individual conscience, so that they no longer throw these disposable elements on the public streets. Since masks and gloves can generate not only a health problem (since some pathogens use garbage as a vector for spreading), but also a big ecological problem, especially in the marine ecosystem. There is already evidence from non-governmental organizations that the oceans are suffering from the ravages of Covid-19. In addition to the existing problem of ocean pollution with microplastics, there is now the sad fact that the waste from the pandemic is being added to the problem. Gloves and masks are not biodegradable, so they can remain in our seas for hundreds of years. As I said a few lines above: the coronavirus will pass, but the rubbish will not. This is also part of the pandemic's impact. view Victoria's portfolio Read an interview with Victoria >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. 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SINGAPORE SCENES Xiangyi's minimalistic photography conveys a sense of mystery, illustrating how tiny we are in comparison to the universe. SINGAPORE SCENES June 22, 2020 INTERVIEW PHOTOGRAPHY Chen Xiangyi INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As the world continues to rapidly evolve and transform, it's hard to keep up with all the changes happening around us. But one Singaporean street photographer, Chen Xiangyi, has made it his mission to document these changes and immortalize them in his minimalist photographs. Self-taught and inspired by the ever-evolving nature of street photography, Xiangyi has developed a unique style that captures the beauty of his environment and the people within it. His works often feature mysterious scenes where the human subject may not be the main focus, but they still contribute to the composition nonetheless. It's an intriguing style that speaks to the smallness of mankind in comparison to the vast universe around us. In this article we will explore Xiangyi's fascinating photography, as well as his motivations and aspirations as an artist. “Sometimes taking a step back, we see that the universe is so much bigger and we are only mere specks in it.” IN CONVERSATION WITH CHEN XIANGYI THE PICTORIAL LIST: Xiangyi, when did you start getting interested in photography? CHEN XIANGYI: I started around twelve years of age. I received a point and shoot as a gift. I started taking casual photos of friends and family. During vacations, I also took photos of the scenery and macro shots of food and flowers. I think I got myself hooked, buying books and going online to watch video tutorials about camera settings and shooting techniques. Later on, I joined Instagram and saw many different beautiful pictures. This sparked my interest further as I tried imitating their styles. TPL: Where do you find your inspiration? CX: I started getting my inspiration initially from YouTube street photography tutorials. Later, as I created my Instagram page, I followed many Instagram accounts that showcased works of other street photographers. The scenes that are on the street, backgrounds and different lighting inspire me and gives me the inspiration to make the photos. TPL: Who are your favourite artists/photographers? CX: I think Evan Ranft and Sean Tucker are the first few YouTube photographers who influenced my style, I have learnt a lot from their tutorials and really got motivated by them. Eric Kim, Eduardo Pavez Goye and King Jvpes's POV videos of them doing street photography has also inspired me to get out there and shoot more. Street photographers and feature pages on Instagram also has influenced my work providing inspiration as well as a different perspective to look at light, subjects and the scene. TPL: Has your style of shooting changed since you first started? CX: When I started, it was more of a casual shooting anything and everything. I dabbled with studio a bit but after graduating high school, I did not have access to a studio anymore. I guess street photography called out to me, as Singapore is a tiny city that is always bustling with life. The streets are always changing and always have interesting characters. There are always stories unfolding waiting for me to uncover. TPL: Where is your favourite place to shoot? CX: I don't really have a favourite place. I enjoy shooting different places. In Singapore, my favourite few places include Chinatown and Central business district. These are places always teeming with live and always full of energy. However, I also enjoy the occasional walk around the neighborhood with my camera. Although quieter, it provides a new environment that keeps things interesting. Recently, on my overseas trips, I found just walking in an unfamiliar place can be inspiring as everything looks intriguing. The scenes that are on the street, backgrounds and different lighting inspire me and gives me the inspiration to make the photos. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? CX: I agree strongly with the quote "the best camera is the one on you". Equipment in this day and age shouldn't be what is stopping you from creating images. Even phones are able to make stunning images. I also believe that it’s the vision of the creator of the picture that makes it unique and amazing and not the gear. I guess just go and get your gear out and just go shoot! Don't be afraid even if you don't get many keepers, just keep on shooting! TPL: What characteristics do you think you need to become a better photographer? What’s your tips or advice for someone in your genre? CX: I would think someone who is attentive to details or just observant in general. There are always a lot happening on the streets and it is up to us to spot the interesting story that is unfolding. I guess just shoot first chimp later. If you think something is interesting or aesthetically pleasing, just snap a photo of it first! TPL: Have you ever been involved in the artistic world before photography? CX: I was in the school's orchestra but that's about it. I can’t really draw or paint, so I guess not much involvement. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CX: I have just started doing photography seriously as a hobby. I would hope to be able to make something out of it some day! I currently have an Instagram page which I try to post regularly. I also put up some of my work on lens2print. Maybe in the future a website or maybe a zine or two! TPL: “If I wasn't photographing what would I be doing?... CX: I really don’t know. I got hooked on photography and had been doing it for 10 years already. I really can't imagine anything else getting me hooked for that long!” It serves as a reminder of how tiny we are in comparison to the universe through Xiangyi's minimalist photography. Please follow his journey on Instagram. VIEW XIANGYI'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. 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PICTORIAL STORY LIGHT IS WHAT WE SEE For Michèle Polak, light is also what we feel. Her work moves beyond representation, using light as a tool to shape her own vision of nature — a space where time dissolves and the reality becomes quietly transcendent. March 11, 2022 PICTORIAL STORY photography MICHÈLE POLAK story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Bergen is a village in the Netherlands, in the province of North Holland. It is known for its magical light. Bergen is positioned between the North Sea to the west, and Ijsselmeer, and Markermeer two large lakes to the east. These three bodies of water act like a tripod of mirrors reflecting the light through the atmosphere meeting at their apex, then reflecting the concentrated illumination back down onto North Holland’s Village of Bergen. This luminous light drew many artists to the countryside of North Holland in the beginning of the twentieth century. Between 1915 and 1925, a new school of painters developed around the French painter Henri Le Fauconnier called De Bergense School. With innovative creative thinkers, like that of Leo Gestel, Dirk Filarski, Arnout Colnot, Matthieu Wiegman and Charley Toorop, began the artistic movement that was to become known as Dutch Expressionism. This movement in Dutch painting embraces influences of dark colors found in cubism, while exploring characteristics inherent in expressionism. Michèle Polak has been influenced from an early age by light, and by the way light is captured with a camera. Michèle was given her first camera at the age of 14, a Yashica B medium format camera, using 120mm film, producing 6x6cm negatives. Over the years of her exploration in different fields of photography, light has remained a focus in personal work. In this feature on Michèle we will explore the inspirational light of the Village of Bergen portrayed in her work over the years. “You are so a part of the light; the light becomes part of you. Light is what we see. Most importantly, if there was no light, we wouldn't see anything would we?” - Michèle Polak The first series of photographs reflect similar landscapes of color and light as that of De Bergense School painters from the twentieth century. It is interesting how the light begins to take on a personality all its own. It is that magical light of the Village of Bergen. Come saturate yourself in the color and light that has moved and inspired Michèle for more than a decade. Michèle Polak was born in Amsterdam into a family within an artistic milieu. Michèle’s family has had an association with De Kring since the 1950’s. De Kring is a club of Artists, Scientists, and Art Lovers, founded in 1922. It has been the place to be for writers, poets, painters, actors since it was first established and has remained the center of cultural Amsterdam. Michèle met her husband at her interview for membership to the club. He was Chairman of the board. She was shy, but he was taken with her and made himself important in her life. His persistent devotion led to a close friendship and relationship for almost forty years, united in marriage for thirty-eight. A true love story. Michèle and her husband moved to the village of Bergen thirteen years ago, while their two daughters stayed in Amsterdam to study, and still reside there today with their children. It gives Michèle much joy to share the magic of the Village of Bergen with her grandchildren, and to spend time playing in the special light that illuminates the streets and landscapes inspiring a unique way of seeing. Michèle has a diverse background in a variety of disciplines related to photography and the arts. She has worked and interned in the Dutch film industry, dabbling for a while in the world of still photography, working on documentaries. The constant demands and pressures led Michèle to take some time to travel. Traveling gave Michèle a new perspective and need for independence. She returned to an unexpected position as a Resident Photographer for the De Nederlandse Opera House in Amsterdam. Her disciplines in photography were nourished with the abundance of different things she had to photograph. Michele honed her skills in storytelling, cataloging the details of the performances. Her photographs became the instructions with explicit details of how to reconstruct the production from ground up. Everything from the costumes, to makeup, sets, lighting, and props, including the sets and their designs, were then able to be reproduced to perfection. Michèle relies on her motor memory skills and utilizes what she has learned instantly, giving her the ability to apply technique without thinking, but by just doing. Michèle has been greatly influenced by art, and one person in particular has made an indelible impression on Michèle, Kees Wieringa, a world-renowned pianist, composer, writer and cultural entrepreneur. Michèle talks about his influence and inspiration. “Kees Wieringa takes chances, with an incredible personality. His Canto Ostinato was for me, a life changing experience, as it is for many people. It’s like meditation, hypnotic and all consuming. Simeon ten Holt is the composer of Canto Ostinato and lived and worked in Bergen.” Michèle has always found nature and the light of the Village of Bergen to be a focus in her personal work. Michèle believes that “You are so a part of the light, the light becomes part of you. Light is what we see. Most importantly, if there was no light, we wouldn't see anything would we?” She remembers one time in particular that made a significant impression. Michèle and her husband were flying home to Holland from Scandinavia, and they could see in the sky that Holland was blanketed with a flame of yellow. This yellow comforter was a thick layer of pollution. During the Pandemic, when stay at home restrictions were put in place in the Village of Bergen, Michèle instantly noticed changes in the sky. Without all the cars and business as usual, the polluted and yellow flame over Holland was being extinguished. This led Michèle to her project Blue Diamonds . Michèle began to document the sky over the Village of Bergen, and the restoration of the clean atmosphere with no pollution. She decided to take a mirror into her garden three times a day, morning, noon, and night. She photographed the reflection of the sky above her. Michèle was fascinated with the changes and the positive influences the pandemic has had with the quality of the air over the Village of Bergen. I found these images to be provocative and hypnotizing. I asked Michèle what these blues meant to her, what they represented. Michèle told me, “Blue can represent many things. Blue can be melancholy, it can reflect grief, sadness and sorrow. Blue can be a solemn place where there is purity, beauty and eternal light. These images represent clarity, a guiding light of hope, that embraces love and inner reflection. They became peaceful and liberating, and healing. They were my ritual of joy. Like a fresh breath, when you inhale deep, you look to the sky.” Michèle sees beauty in the sky whether it rains, snows, or the sun shines. Michèle's work outside of this project addresses nature and the elements in nature. She explores color, light, shape and form, allowing them all to become elements in her creative thought process. Michèle investigates the atmosphere, the fire of the sun, the air we breathe and the illumination and colors of light in the sky above the Village of Bergen. Michèle explains, “My work is not a translation of reality, my work is an interpretation of nature in the universe, it’s a timeless view.” Michèle believes, “Color does not necessarily have to be true to life but should evoke a special emotion and a passionate response to nature. I am endlessly fascinated by the slow motion of nature, as well as the elements. They become dialogue in the now and the future.” Michèle uses sharp color contrasts to emphasize the beauty of nature. Michèle is always working on numerous projects, and there is no surprise that she found even more inspiration and new direction during the Pandemic beginning a new collaboration with another artist Paul Allender. Paul is a painter residing in Sheffield in the North of England, with his partner. He has been painting for ten years and says his work is very influenced by his early childhood years. I talked with Paul, and he describes his work, “Formally my work is trying to find a place/space between abstraction and figuration, and its content is autobiographical, even when it doesn’t look like it is. The paintings often use bright, saturated colour combinations. The drawings and paintings are very direct and maybe somewhat naive.” I asked Michèle how their project began. “Paul and I have followed each other on Instagram for many years. We began to chat early in 2020. We had a mutual admiration for each other’s work. Our discussions focused on our work. Then, in August 2020, I asked Paul if he would consider collaborating with me. He said yes immediately, and the work began. At that point the type of images we worked on were very organic, somewhat geological in appearance. There was a great delight for Paul in working into these images with oil sticks, oil pastels and paint.” This project gave Michèle and Paul an artistic outlet for creating something new and exciting, while adapting to life during the pandemic. Michèle found Paul to be an intellectual, inspiring in thought as well as process. He had a willingness to compromise, and to allow equal collaboration, always respectful of her work. He allowed their work to progress naturally. All the ingredients for a successful project! I asked Paul what was his direction...what was his intent? What surprised him, inspired him, even while challenging him. Paul explains this part of their collaboration. “Our original intention was to work together and see what happened - simple as that. For me to paint and draw on Michèle’s original digital images. What initially surprised me was how easy it felt. I had great admiration for Michèle’s work and felt that I couldn’t ‘improve’ them in any way! But she gave me total permission to do whatever I wanted - so I did! And images that were quite different to her originals began to appear. It was beautiful. It was easy with the more organic, abstract images. This was not the case though with the figurative images. I felt very hesitant to work on them. They seemed so complete, delicate and, in some ways, fragile. I didn’t want to upset their equilibrium. So, Michèle very gently guided me with these - giving me ideas about what I might do. As I had worked on the pieces, back in Sheffield, my confidence began to grow. Michèle was great - hugely supportive of what I did. We established huge trust, However, there was still some nervousness about how she would respond to them.” Their work began in August of 2020 and their commitment to their disciplines and inspiration found in their work culminated in an exhibition together in Paris in October 2021 titled We Could Breathe . Michèle would send her digital images to Paul, printed on a very special photographic paper, Hahnemühle printed with premium pigment inks. Paul then worked with oil sticks, oil pastels, oil paint, and acrylic paint to create the new work from Michèle’s images. For fourteen months while Paul worked on their pieces in his studio in Sheffield, only Paul saw the completed pieces in person. Paul describes this union, “Up until that time, Michele had seen only photographs. Unveiling the work in our Paris hotel was quite an occasion. We were both delighted with it. Then, within an hour, we took it to the gallery to hang it.” Michèle and Paul are now working on a new project together De Bergense School . The project is in its infancy. Michèle has given her images to Paul for his interpretation, and collaboration. Michèle chose some new elements like figure and form to share processes with. She also understands the collaboration process, and what the finished pieces feel and look like when completed and seen in real life. She can adapt her choices now to better accept Paul's influences and inspirations with his painting. Paul continues to explain his part of this process. “I have begun to work on one of Michele’s images - and the first impressions are very good. I usually focus on one image and do multiple versions of working on it. These can get amalgamated, be used in their own right or rejected. So, we will work together on this in the coming weeks and months, and we hope to show this work in North Holland. It is looking good.” They are inspired by their past work together, growing and adapting to change and applying what they have learned to create new work. By re-evaluating and understanding what their collaboration has evolved from, is developing into, will propel their project to new heights of understanding and awareness. Paul is presently mentoring classes with Turps Banana , a painting magazine and educational set-up in London. He has exhibited with them online in 2021-2022 and is currently writing an article for the magazine on George McNeil, a little-known New York Abstract Expressionist. Paul is also organizing a solo show of his work in Sheffield, at a wonderful venue, the Yellow Arch studios. This is taking place between the 8th and 24th June 2021. It will be a large exhibition, showing a cross section of his paintings and drawings over the last ten years. Michèle has had some incredible exhibitions in the last few years from Songs of the Night , Warszawa Polen 2019, the De Winter Salon 2019-2020, People's Revolution Paris 2020, Venice Photo Lab October 2021, Rebirth Venice 2021, to Instant Éphémère Paris 2021. Michèle’s future exhibition at De Kring is very special. Together they will celebrate 100 Years De Kring , 100 artists, for 100 days through September. If you have a chance go see her work, be transformed and have your soul enlightened. © Michele Polak © Michele Polak Michèle with her first camera. Michèle began to document the Sky over the Village of Bergen. She took a mirror into her garden three times a day, morning, noon, and night. She photographed the reflection of the sky above her. Here is a grid image of all her sky photographs. © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Michele Polak © Collaboration between Michèle Polak and Paul Allender © Collaboration between Michèle Polak and Paul Allender © Collaboration between Michèle Polak and Paul Allender © Collaboration between Michèle Polak and Paul Allender Self-portrait of Michèle in recent times. © Michele Polak Michèle Polak is an inspirational woman that has found photography to be a way of investigating the world around her, her explorations have led to discoveries of a lifetime. She has had exceptional discipline to create throughout the years, finding joy in her process, never needing for finality. She always has a camera around her neck and will be constantly observing the environment around her. She is always engaged with her process, body and mind. Michèle feels herself as just another element in the universe. She is always smiling, which makes her very approachable, and immediately her contagious smile ignites yours, and she inspires thought and communication. I said to Michèle, “You are a true artist!” she immediately replied, “NO! I am a life, the love of life, so much so it is the air I breathe deep.” These elements of landscape and light she studies and explores transcend her work, illuminating her soul. view Michèle's portfolio Instagram >>> OF IMPORTANCE TO MICHÉLE - @societeit_de_kring @kunst672 @xgras @gosiawww @lebonheurestdanslinstant @fabiocavessago @venicephotolab @lab77associazione @pauliepaul55 The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

NEW YORK IMPROVISATIONS Bill Lacey creates his own candid compositions filled with heart and soul from spending a lifetime walking the streets of New York. NEW YORK IMPROVISATIONS March 20, 2020 INTERVIEW PHOTOGRAPHY Bill Lacey INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Introducing Bill Lacey, a street photographer hailing from the vibrant city of New York. Through his lens, he captures the pulse of the bustling city, from its towering architecture to its diverse melting pot of people. With a lifetime of experience exploring the city on foot, Bill's approach to photography is akin to jazz improvisation, crafting candid and heartfelt compositions that truly showcase the soul of the city. Jazz stands for freedom. It's supposed to be the voice of freedom: Get out there and improvise, and take chances, and don't be a perfectionist - leave that to the classical musicians. - Dave Brubeck IN CONVERSATION WITH BILL LACEY THE PICTORIAL LIST: Thank you so much, Bill, for being a part of The Pictorial List. Can you tell us when you first became interested in photography? BILL LACEY: I was influenced at an early age by a relative who shot Kodachrome slides of my family. He also introduced me to jazz via Miles Davis records. TPL: Where do you find your inspiration? BL: For photography I find a lot of inspiration on Instagram. Next would be YouTube. Third would be the general internet. I was never a big collector of books of photographers – just of photographic techniques. But I’m starting to acquire more books about photographers, such as Vivian Maier and most recently a wonderful book about Stanley Kubrick “Through A Different Lens”. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? BL: I’m self-taught at photography and was never formally exposed (no pun intended) to the many incredible photographers that have defined the medium. Of course, I was aware of Cartier-Bresson, Walker Evans, Berenice Abbott, Ansel Adams and documentary photographers like Robert Capa and Dorothea Lange. But more recently I’ve been enjoying the work of Vivian Maier, Garry Winogrand, Jim Marshall and Joel Meyerowitz. And there are so many amazing photographers right now on Instagram who are all influencing my style. TPL: Has your style of photographing changed since you first started? BL: Only in the last few years do I feel that I have finally found my style, both in terms of subject matter and technique. It’s been a life-long journey to get here. TPL: Where is your favourite place to photograph? BL: New York City, without question. By virtue of proximity. London second. I really haven’t been out of the US that often and there are so many places I’d love to shoot in. But cities are my comfort zone. In the film days, I used to say, “it’s the lens, stupid!” While I still believe that, I’ll have to add “it’s the sensor, stupid!”to my Lexicon. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? BL: Yes, absolutely. But not any particular camera, per se. Digital cameras in general made it so much easier for me to work with and experiment (I could never develop my own film). Mirrorless cameras specifically with their ability to let you see exactly what the sensor was seeing. And finally, improvements in high ISO sensor technology, which has permitted my style of shooting from the hip while moving quickly and often in low light. To someone just starting out, I would advise them to just get out and shoot as often as possible and NOT get caught up in the buzz about the latest whiz bang camera. The difference between someone who is a photographer and someone who wants to be a photographer is the former gets out and shoots and the latter has an excuse for not doing so. TPL: What characteristics do you think you need to become a good street photographer? What’s your tips or advice for someone in your genre? BL: Perseverance and determination are just as important as talent and gear. It’s very easy to be disappointed as an artist and question your legitimacy. Just remember that you’ll likely have more bad days than good. But when you have a good day, they are something special to hold on to. You just need to keep at it, relentlessly. For street photography, it’s so easy to become self-conscious and afraid that someone is going to catch you taking their picture in a public place, as if it is a moral and ethical crime (although in some places it seems now that it really is a crime if you lack permission). In those moments, turn your camera towards an object or the wonderful architecture we are surrounded by. Try different locations, different times of day, a different lens, shoot from below, shoot from above… TPL: Have you ever been involved in the artistic world before photography? BL: I have spent a lifetime working professionally with sound and music in the music, film and television industries. Creating something has always been a part of my life. I studied jazz improvisation at an early age, and to me street photography and jazz are very connected stylistically and philosophically. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? BL: I’m finally set up to sell prints online. And I’m planning to release a book of street photography before the end of the year. Fingers crossed. TPL: “If I wasn't photographing what would I be doing?... BL: I’d probably be writing more music. And wishing I was photographing... Fast-moving, off-kilter, witty, raw and classic film noir photographs define Bill's style. It is an honor to have Bill on the team here at The Pictorial List. You won't want to miss the opportunity to experience New York through the Bill's viewfinder. Connect with Bill through the links below. VIEW BILL'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.

FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. FRAGMENTS OF MEMORY An Ode to the Umrigar Residence September 6, 2024 INTERVIEW PHOTOGRAPHY Dasha Darvaj Umrigar INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the landscape of contemporary visual arts, Dasha Darvaj Umrigar emerges as a promising and insightful talent. Currently a second year Communication Design student at the Indus Valley School of Art and Architecture, Dasha brings a unique perspective shaped by her upbringing in Karachi, a city in Pakistan renowned for its dynamic interplay of light and life. Her artistic journey is marked by a passion for storytelling through both compelling visuals and intimate photography. Dasha’s education in Communication Design has been instrumental in refining her visual narrative skills. Her dedication to exploring various mediums reflects a relentless pursuit of artistic growth and innovation. In her work, she gravitates toward photographs that transcend mere aesthetics, striving instead to forge a profound emotional connection with her audience. Her fascination with capturing the beauty within the mundane and the ordinary is evident in her attention to light, shadow, texture, and color — elements that transform everyday scenes into extraordinary visual experiences. As Dasha progresses in her studies, she aspires not only to excel as a photographer but also to delve into UI/UX design and Graphic Design. Her ambition is to evoke emotions and foster meaningful dialogue through her visual creations. Her latest project, a poignant photo story for her third-semester assignment, captures the melancholy of a once vibrant home now reduced to whispers of solitude. The narrative unfolds through images of empty rooms and fading memories, portraying a space where laughter and tears have long since dissipated. This project embodies Dasha’s commitment to exploring the intersection of memory and decay, offering viewers a contemplative reflection on the remnants of lives lived and lost. Join us as we uncover the layers of Dasha Darvaj Umrigar’s creative journey. Her insights and reflections will offer a richer understanding of how she is navigating the realms of visual art, from her formative experiences in Karachi to her current explorations in Communication Design. An Ode to the Umrigar Residence Once a bustling home to the family of seventeen, its walls now echo whispers of silence. In every nook, a tale, a memory remains. Laughter and tears, fading memories and shattered dreams, with each crack, the place they once called home, piece by piece, falls apart. Empty rooms and murmurs of solitude; the remnants of those who lived and were lost. IN CONVERSATION WITH DASHA DARVAJ UMRIGAR THE PICTORIAL LIST: Hello Dasha, thank you for sharing your personal photo story “An Ode to the Umrigar Residence” for your third-semester assignment. Please tell our readers about the creative process behind the story of the home that once housed seventeen people. What inspired you to delve into this particular narrative, and how do you hope it resonates with viewers? DASHA: The creative process for this photo essay stemmed from my desire to learn more about my family history and their connection to this house. Growing up, I heard numerous stories from my father of how he, his siblings, cousins, his uncle and aunt all lived happily together under one roof. It was the stories growing up that inspired me to preserve the legacy of those who once lived there and many who were lost. I believe choosing to work around a personal narrative revolving around family ties, the struggles they faced, and stories of shared space are universal themes that almost every one of us can relate to. Through my work, I aimed to build a connection with my audience while inspiring them to reflect on their own familial spaces and the bonds they share. TPL: Can you share any challenges you faced while working on your photo story and how you overcame them? DASHA: One of the most important challenges that I faced was deciding how to portray the house without missing out on other important elements. Even though the house was decaying, it still remained a lived-in space with my uncle residing there. To overcome this, I had to spend a lot of time interviewing my uncle, understanding his emotions attached to the house and visiting the house several times. Balancing the two was difficult, but I finally chose to show the house through his eyes while ensuring other important parts were covered too. TPL: What inspired you to pursue photography, and how did you start your journey in this field? DASHA: I believe I always felt emotionally attached to this medium of expression and was naturally drawn towards it. Therefore, having gotten the chance to explore this passion further I decided to take photography as a course for my 3rd semester at my university. TPL: Your journey as a Communication Design student at Indus Valley School of Art and Architecture seems to be quite formative. How has your academic experience shaped your approach to visual storytelling? DASHA: One of the ways that the curriculum here at IVSAA has helped shape my approach to visual storytelling is through their emphasis on critical thinking and research. The curriculum is designed in a way that we are able to challenge and question things. We are taught a diverse range of courses and have experimented with a variety of different mediums. This versatility has helped me grow and expand my thinking. Additionally, collaborating with peers from different interdisciplinary departments has always helped broaden my horizon. With guidance from my instructors and the overall experience combined so far has all played a pivotal role in honing my skills. TPL: Karachi, your city of origin, is known for its vibrant and dynamic environment. How has the city's unique character influenced your artistic vision and practice? DASHA: I believe people are walking stories and the unique mix of culture and traditions has served as a major influence in the way I see life. The city’s bustling markets, vibrant streets and people have inspired me to create work that is deep, authentic and engaging. TPL: In your work, you mention a focus on capturing the beauty in the mundane and ordinary. Can you elaborate on how you find and transform these everyday scenes into extraordinary visual experiences? DASHA: I constantly find myself looking at things and observing which I feel serves as the foundation for my practical approach. I believe in noticing things that often go unnoticed. Using my knowledge of design principles and elements I am looking for interesting shadows, the subtle expressions on people’s faces and the play of light. By using these observations, I enjoy experimenting with angles, compositions, light and shadow while capturing everyday moments. I believe people are walking stories and the unique mix of culture and traditions has served as a major influence in the way I see life. TPL: Photographers Arif Mahmood and Nirav Patel have been significant influences on your work. Can you describe a specific aspect of their photography that has deeply impacted your own creative process? DASHA: I am deeply fascinated with the way photographer Arif Mahmood is able to capture the rawness of the people he meets, the places he visits. His ability to tell real unfiltered stories is what catches my eye. While Mahmood’s work focuses on creating deeper narratives, I am equally captivated with the way Nirav Patel looks at light. It almost feels like he is worshiping towards it through his photographs. His shots are intimate, ethereal and experimental. Through his work, I see how light can be both moody and emotional. Both their influences combined have taught me to look at things differently and develop an expressive approach. TPL: In what ways do you believe your background in Communication Design will complement your photography, and how do the skills from one discipline inform the other? How do you see the role of emerging technologies and media in shaping the future of visual storytelling? DASHA: My background in Communication Design complements my photography in several ways. The principles of design, the in-depth study of colour theory and typography play an integral part in creating compelling visuals. Understanding balance and harmony, analyzing negative and positive space help me create images that are not only aesthetically pleasing but also impactful. As for the role of emerging technologies and media, with the advancements in technology, photography will take a new shape pushing boundaries of traditional storytelling. These advancements I believe will help create a much more immersive experience for viewers. TPL: What role do you think your personal experience will play in your future artistic practice, and will you incorporate elements of your own life into your visual stories? DASHA: Personal experiences remain a crucial aspect of my creative practice. By incorporating elements from my own life, I believe I’ll be able to create authentic work that is able to resonate with a wider audience. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What camera/s do you currently use? Do you have anything on your Wishlist? DASHA: The first camera that I ever held was the Canon Digital IXUS 950 IS. Currently I use the Canon 600D model. A Fuji film camera is definitely on my Wishlist. TPL: How do you see your artistic practice evolving over the next few years, and what are your long-term goals as both a photographer and a designer? DASHA: Over the next few years I see myself exploring new techniques and experimenting with different approaches of storytelling. By blending the two fields, I also see myself delving into photojournalism. TPL: When you're not creating work, what else moves your world, Dasha? What would we find you doing if not photography? DASHA: When I’m not creating work, I love helping around the kitchen with my mother. Cooking together is our kind of therapy, helping us unwind from our busy schedules. Besides that, you could also find me immersed in a good book. Dasha Darvaj Umrigar’s practice is centered on the intersection of personal narrative and visual storytelling. Informed by her upbringing in Karachi and her studies at the Indus Valley School of Art and Architecture, her work investigates themes of memory, space, and the quiet power of everyday moments. With an eye for composition and a sensitivity to light, she turns ordinary scenes into reflections on time and experience. As Dasha continues her exploration of both photography and design, she remains committed to expanding her approach, blending disciplines to create work that speaks to a deeper connection between image and story. VIEW DASHA'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

THE HUMAN EXPERIENCE Kevin To creates images that are reminiscent of the golden days of street and photojournalism with a modern twist. THE HUMAN EXPERIENCE May 28, 2021 INTERVIEW PHOTOGRAPHY Kevin To INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The world of street and documentary photography has a new voice in Kevin To. With an eye heavily influenced by the photojournalists and humanists of the past, Kevin's work is a stunning reminder of what can be achieved when the camera meets life on the streets. His images capture the emotions and stories of everyday individuals, giving viewers a glimpse into a world they may never have experienced otherwise. Kevin has traveled extensively, using photography as his tool to bring stories and moments to life that are reminiscent of the golden days. Join us as we explore his creative journey and discover what inspires this talented artist. “What I want to express is the beauty and joy of everyday life. When working on a project or a specific story I try to expand that to include a wider range of the human experience.” IN CONVERSATION WITH KEVIN TO THE PICTORIAL LIST: Kevin please tell us about yourself. How did you become interested in photography? KEVIN TO: I was born in suburban Northern Virginia, just outside Washington DC. Was based in South Sinai for the past six months and now I’ve just arrived in Istanbul, Turkey. I grew up in a big family where my aunts, uncles, and cousins were all into some form of art as their hobbies, that form being mostly photography. Most them are landscape, wildlife and wedding photographers. But they were always taking photographs during family dinners and events, so it was inevitable that I picked one up sooner or later. TPL: Where do you find your inspiration? KT: I find a lot of it through film and music. But I also find a lot of inspiration through just talking to people. Hearing about their life experiences and their perspective on things, it helps me view things differently. TPL: What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? KT: I’ve found that when I take my camera out most of the time people respond positively. Occasionally negative reactions occur, and the easiest way to diffuse these situations is to smile and explain. I find that a conversation about what I’m doing and why I took a photo of the person tends to allow them to understand, and more often than not they leave with a smile as well. The initial reaction of “why did you take that photo of me!?” Really scares photographers, but that’s normal and if I wasn’t in a good mood I’d probably react the same way if someone did that to me. TPL: Do you have a favourite place to go and photograph? KT: Wherever I happen to be. My favorite images are definitely made when I’m traveling and when my eyes get to see familiar things in a foreign setting. New colors, sounds, smells, cultures, and energy levels put me into a creative flow. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KT: Some of my favorite photographers include Philip-Lorca diCorcia, Juergen Teller, Andre Kertesz, and William Eggleston. Film directors I always revisit and love are Andrei Tarkovsky, Claire Denis, Lucrecia Martel, Wim Wenders, Wong Kar Wai. And so many others. New colors, sounds, smells, cultures, and energy levels put me into a creative flow. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? KT: If it’s a project then absolutely I have images in my head that I want to make. Telling a story through images is the same as writing one, so certain images that give context and move the story forward are essential. But If I’m just wandering about, then most of the time I let the images come to me, no matter the time or day. 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? KT: The equipment does affect the way I shoot and how I go about achieving my vision. I shot mostly with film in the past but now since I’m traveling I’ve switched over to digital. The camera I grab most of the time is my Ricoh GR. It’s the perfect camera in my opinion, and it brings me the most joy with the most ease. The wide angle lens allows me to capture moments on the fly. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? KT: Some of my goals include having a solo exhibition in the future and have a few more books published. In five years I hope to be a photojournalist for an international photo agency like Getty Images or Reuters. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KT: Currently I’m doing some research on the largest stateless nation, Kurdistan. TPL: When I am not out photographing, I (like to)… KT: Go swimming, cycling around the city, travel, and visit museums. Or just stay home with a good movie, a few cocktails, and some good company. Kevin creates images that are reminiscent of the golden days of street and photojournalism with a modern twist. We thank Kevin for sharing his photography and words with us. Please continue following his travels and inspiring work by connecting below through his website and Instagram. VIEW KEVIN'S PORTFOLIO Read GROWING UP ASSALA by Kevin >>> 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.

OUT OF THE DARKNESS Through self portraiture Abbie Briggs has truly found herself. Photography has become a healing creative outlet for her. OUT OF THE DARKNESS April 26, 2020 INTERVIEW PHOTOGRAPHY Abbie Briggs INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Abbie Briggs has been struggling with mental health issues for most of her life, but when she got her first digital camera a few years ago, she found an unexpected source of solace. Through self-portraiture, Abbie has found her own healing creative outlet and come to terms with the struggles of her past. Photography has had a positive impact on Abbie's mental health, providing her with a means of self-expression and allowing her to explore her identity in a unique and meaningful way, enabling her to find a sense of peace and purpose. Join us as we explore Abbie’s journey in her pursuit of healing through the power of photography. “Evolve or die.” A simple reminder for me to keep moving and never stop growing. I also like it because it reminds me of Lily Tomlin...and Lily Tomlin always makes me happy. I first saw the phrase on a shirt she was wearing in a portrait by Norman Seeff. IN CONVERSATION WITH ABBIE BRIGGS THE PICTORIAL LIST: Abbie, please tell us when you started getting interested in photography? ABBIE BRIGGS: Even though I've only honored it more recently, I've been drawn to photography since I was little. Reflecting back I can see that it was something always trying to grab hold of me but I just never let it. So life went on and I hit some hard times and fell into a pretty deep depression. I was basically treading water until about the end of 2017 when a DSLR fell into my lap and I started getting to know it. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Where do you find your inspiration? AB: Nature, poetry, music, other artists and photographers. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AB: I'm a big fan of Julia Margaret Cameron and the way she brought stories and poems to life in her portraits. I also adore the work of Georgia O'Keeffe and Alfred Stieglitz. Both in their own right as artists but especially with what they created together. Anna Gaskell - especially her Turns Gravity series - gives me life every time I revisit. And I have to mention Bob Dylan and Patti Smith even though they aren't known for their photography. Their influence has played a big role in making me who I am and that makes my art what it is. So, yeah, credit where credit's due and all that. TPL: Has your style of photographing changed since you first started? AB: Absolutely. It takes time to find your style, I think. I also believe it's something that can keep evolving. Growth is good. TPL: Where is your favourite place to photograph? AB: My little home studio. It's my safe space for creating self portraits. But also anywhere out in nature -- the woods, botanical gardens or the wildflower garden that grows at a local park. Finally answering the call that had been trying to get my attention my whole life really helped in pulling me out of the darkness. I haven't looked back since. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AB: I am definitely not a "gear person". Personally, I'm most fulfilled by challenging myself to get creative with what I've got. When I was first starting I was blinded by the promise of new equipment but realized that giving into that wasn't necessarily helping me create anything I loved. My focus was on what I thought I needed to do it better. So I decided to simplify. I chose just one of my lenses (nifty fifty was the winner) and shot with that exclusively for about a year. During that year I focused more on studying different genres and other photographers. It really opened me up creatively. It helped me find direction for the art I wanted to create. I do have a couple other lenses that I create with, as well as some filters and stuff for when I just need to mix it up a bit (because that's good for creativity too) but these days I'm only drawn to something new when I'm feeling sufficiently ready to grow my portrait setup in some way. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AB: I think being a good observer, having a good eye goes a long way. Keeping an open mind and a willingness to keep learning have definitely helped me grow as an artist. If you're into self portraiture I'd say authenticity is key. Stay true to yourself, trust yourself. Think through your ideas and get in touch with your emotions. Then tell your story. TPL: Have you ever been involved in the artistic world before photography? AB: I've always loved creating but it's usually just for myself. Collage is something I've dabbled in for years and I play with paint once in a while. Nothing professional though. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AB: I've got some bigger ideas brewing. That's all I'll say for now. TPL: "If I wasn't photographing I like to be... AB: I love to be outside but I always have my camera when I'm outside so… reading, writing, baking, or watching something nerdy or true crime related." Photography has been transformative for Abbie. She has discovered a newfound sense of self and meaning through self-portraiture. This creative outlet has become a necessity for her well-being and has allowed her to express her feelings. We are so inspired by Abbie’s story, and we invite you to join her on her journey. Please connect and follow Abbie through her Instagram to learn more about her creative process and to view her work. VIEW ABBIE'S PORTFOLIO Abbie's instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. ZOONOSIS December 9, 2022 INTERVIEW PHOTOGRAPHY Adrian Pelegrin INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Adrian Pelegrin, a photographer originally from Barcelona, Spain, but currently living and working in Playa del Carmen, Mexico. He focuses his work, THE HYPERREAL ARCHIVE exploring and investigating the post-photographic edit and manipulation of images to create an awareness of fake news or an unreal reality. With the obsession of social media and its integration into our culture, Adrian studies the changes taking place in our society due to the cause of disinformation, and creates images reflecting the effects on society. “My work is about mass media and how it creates new realities. I photograph archive videographic images, working mainly from television broadcasts. I make long-exposure photographic kinescopes that I later edit through digital post production.” Adrian found the events of the pandemic and the biases of the media’s coverage along with their non objective point of view and transmitting of misinformation, to be the new focus for his exploration. His insightful study and research has culminated in his new book ZOONOSIS. Adrian shares with us how this book came to fruition. “ZOONOSIS is a book gestated in pandemic times. When the global crisis broke out and the entire world was quarantined, I decided to start the task of documenting all the events that were coming to us through the media and online press. The book is the culmination of two years of tracking all the news about the novel coronavirus and its consequences, photographing television images, and selecting the most shocking headlines. Also, I have supplemented the visual and journalistic content with a concise historic-statistical investigation dedicated to synthesizing what happened as much as possible. At another level, I also contribute with a thesis, in a veiled way, juxtaposing different allegorical moments that the reader-observer will be able to guess when contemplating the book’s structure as a whole.” Adrian is a photographer that thinks a great deal about the ideologies he wishes to expose, and draw our focus to. His photography confronts us with the new reality, making the viewer uncomfortable in the confrontation of truth. He has a deliberate vision and intent in how he approaches his work. This drives his process, and engages the viewer in a unique way. Adrian explains in detail his photographic process and critical and creative thought processes. “Photography must express what words cannot express. Photography is a silent art that grows strong in silence. The photographer does not speak; the photographer only points out. Pointing out is to isolate and delimit the world. Photography is the fragmentary art par excellence. We do not see the world as it is, but as we are. A photograph that is defined beforehand is a dead photograph. A living photograph is one that is created and actualized by gaze. Art records the seizures of the social. We must account for the events of our time. Photographing the archive, resampling its documents for a stab in the unconscious. Doing archeology of the present. Exploring the photographic dimension of movement, where overlays, sparkles, and unexpected analogies appear. Marginal elements emerge as untimely interferences, contiguities that generate metaphors: images of images in a double detachment from the real. We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness.” His insightful documentation and brilliant visual storytelling of the events of the pandemic brings us the harsh reality we are confronted with everyday, and how it allows for the distorted views of our future. We have the fortunate pleasure of presenting Adrian’s interview, where he articulates in more detail about his extraordinary process in photography, and how it inspired this wonderful project and new book he has created, ZOONOSIS. “We are in the maelstrom of memory; in the hyperreal realm of simulacra. We see the phantasmagoria of a managed world, the dreams of instrumental reason. In the era of emptiness, mass disinformation becomes ubiquitous. Is this the real? Then, the artistic practice produces a paradox: the aesthetic paroxysm leads us to self-awareness.” IN CONVERSATION WITH ADRIAN PELEGRIN THE PICTORIAL LIST: Hello Adrian, to begin, can you please tell us something about yourself. What would you say first drew you to photography? ADRIAN PELEGRIN: I was born in Barcelona, Spain, in 1980. I grew up in Badalona, a post-industrial city by the sea. There was a combination of abandoned factories backing to the beach, fishermen, run-down suburbs, and an ancient Roman city steeped in history. Nearby is Barcelona, a large European city, where you can find all the fun you need as a young person and important cultural centers. At the age of 15 (1995), I became interested in photography, thanks to a summer camp dedicated to film and print development. From then on, I never left the path; I installed my laboratory at home and worked intensely on it until the irruption of digital around the year 2000. Today, I live in Playa del Carmen (Mexico), which is a long story, but to sum it up, I will say that I have been faithful to the belief that “we don’t have to die in the same place where we were born.” Besides that, I am focused on producing my most personal work (the Hyperreal Archive), mainly posting my progress on Instagram and materializing it in photobooks. TPL: How would you describe your photography, and what would you say you are always trying to achieve artistically? AP: I identify my work with the post-photographic trend that has become increasingly important in the last decade. The Internet and Social Media have had much to do with it, especially YouTube. The changes that have taken place are huge; today, the whole world lives through virtualized experiences, through the cell phone screen. That virtuality, what Baudrillard calls hyperreality, is like a parallel world. It replaces the sensitive life with the imagined life, the fantasized (in the Platonic sense of "phantasmagoria"). We live in a copy of a reality that is "degraded" (in another degree/level), although often, that degradation appears sublimated. All these historical-social phenomena are what interest me and what I try to talk about in my work. That is why I produce images of images; I never work with the "real" directly. Instead, I always start from previous materials, regurgitate them, and throw them back into that hyperreality in which everything is mixed up. We no longer know what is real and what is not. TPL: Talk us through the narrative of ZOONOSIS. When and how did this project first manifest for you? What have you learned from this project that has surprised you? AP: The book "Zoonosis" arose suddenly, just like the pandemic. In January 2020, I was working on another chapter of the "Hyperreal Archive" (that is the whole of my work's name); that chapter was "the Berlin wall." I was capturing images of the construction of the wall and the demolition. I was immersed in that historical-documentary inquiry process through Youtube materials. When the pandemic started, I didn't pay much attention to it. Still, as the months passed, I realized that it was a crucial historical moment, it was something too big, and I decided to stop everything to start documenting the pandemic. There is an important issue, and it has to do with censorship. In the beginning, many videos appeared (with which I worked), and after a few weeks, they disappeared. That's why it's crucial to document everything as it happens before the censors come with their scissors. TPL: When telling a story about misinformation, using abstracted images, explain to our readers the importance of this vibrato of overlaid information, and why this technique became the vehicle to deliver your message. AP: The idea came to me after reading Arthur Danto's book "After the end of art" I thought that the only thing left to do in art's history was to work from what was already done. More than producing, I do post-producing (for those interested in the subject, I highly recommend Nicolas Bourriaud's book "Post-production"). It's what DJs do; they remix the sampling. Taking samples from a formless mass of information and, from there, with that material, build a thesis. It is not new, but we live in the ideal historical moment to develop this movement. There is another book that also helped me, "Non-creative writing" by Kenneth Goldsmith (many poets hate it, by the way.) There is always reactionary resistance; the purists will tear their hair out at any innovation. Annoying the purists is something that has always appealed to me. In a world where all the information is pre-cooked and biased, it is naïve to claim purity, much less in art. It is something that Plato knew well; art does not reflect the truth but is a simulation. TPL: Adrian, please tell our readers that are considering composing a photobook, what was your process? Where did you begin? AP: There are two typical ways to plan a photo book or a book in general. One is to start from a preconceived idea, sketch each page and then photograph. Another is to start photographing and then try to find meaning in the material made. I am more in favor of the second option. Unless you have a clear idea of what you want to do and say, it's best to let things flow. You go in one direction, yes, within a topic, and you go on sifting and discarding what is left over. There comes the point where you start to see a meaning in it; interesting dissonances exist. Dissonances are unexpected moments (something that cannot be planned); they have to do with unconscious connections. That's why the anarchic method is the one that works best for me. Art has to differentiate itself from science and even adopt practices opposed to science. However, science has a lot to learn from art and vice versa. Planning and systematization castrate spontaneity and eliminate the possibility of psychoanalytic "dissonance"; those impurities, those "out of joint" moments, are indispensable. TPL: Publishing a book is a long road to travel, with many unexpected turns and obstacles to overcome. Could you help our readers understand some of the pitfalls you have experienced, and give some wise advice on things you have learned, or perhaps would do differently next time around? AP: Publishing a book on paper, nowadays, is absolute madness. It is the worst business you can imagine. In most cases, the editions are non-profit, even the authors end up putting money out of their pocket or giving the books away. That being said, some photographers do achieve their goals, not without strenuous work (which may never be financially rewarded). Publishing a book is a symbolic act, out of pure vanity or, at best, out of altruism. Different is creating a book, this process is essential, and every photographer should focus their efforts on producing books. The photobook format is on the rise, and there is no stopping it; it is part of the natural development of photographic art. We move from the "single photo" to the "photo essay." It is a significant epistemological leap. That doesn't mean that for most photographers selling books is a viable business. For those thinking of self-publishing, I recommend doing a crowdfunding campaign first (it doesn't cost any money), to test the market. Many times it happens that we overestimate the commitment of our followers. The reality is that our followers, and the majority of people who spend their time on social networks, are looking for free stuff. The fact that our photos receive a thousand organic likes on Instagram does not mean that you have an audience willing to take out their wallets. In any case, if you're still crazy enough to print your photo book on paper, I recommend doing some pre-work to gather subscribers and build an email list of potential buyers. From there, consider that only 5% of those subscribers are really willing to pay. When you are going to do a short print run, the book is so expensive that no one can afford it. The book is cheap if you do a long print run, but you need a solid fan base. You have to make numbers; and, in most cases, the numbers won't look good. Annoying the purists is something that has always appealed to me. In a world where all the information is pre-cooked and biased, it is naïve to claim purity, much less in art. It is something that Plato knew well; art does not reflect the truth but is a simulation. TPL: Since the pandemic is not over, will there be another edition to this book? If so, would you approach the misinformation in the media in a different way? Like Cause and effect, we understand the cause depicted and translated in this book, would there be a sequel to the effects the misinformation has had, and how as a society we have reacted? AP: Today we can say that the pandemic is under control, and although the cases continue, a large part of the population is vaccinated. I think the worst is over because there is an essential genetic component in severe cases and deaths. Now there is the aftermath, the annoying constant colds, which we will have to learn to live with, and eventually, we will end up forgetting. More than a reworking or a continuation of the book, the important thing is to remember what has happened. The social, political, and economic context of 2020 is worth studying; it is a time we will return again and again. That is why it is worth making documentation covering all aspects of the epistemological spectrum, and the artistic expression has an important role. As to whether we've learned anything from this trauma, I think it's too early to tell. Humans prefer to sweep the garbage under the rug instead of taking care of the problems. We always learn the hard way; when it's too late, and we don't take action until it all blows up. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AP: I am influenced by experimental photographers and artists such as Otto Steinert (subjectivity), Edward Steichen (pictorialism), Gerhard Richter (appropriation), and Joan Fontcuberta (post-photography), among many others. I am also interested in the critical theory of society and culture getting inspired by philosophers such as Theodor Adorno (aesthetics), Max Horkheimer (instrumentalism), Jean Baudrillard (hyperreality), and Jacques Derrida (deconstruction). Regarding paratactic writing, Tristan Tzara and William Burroughs (cut-up) have also been important references. I am also very interested in the new generation of Japanese photographers; Japan will have an essential place in the world of photography in the coming decades. TPL: How do you educate yourself to grow in your photography? AP: The process of formation of visual culture is something that never ends. I spend a lot of time on Instagram every day, following the work of hundreds of amazing photographers that no one knows about. On the other hand, I also try to be aware of new photo book publications. There is a Vimeo profile called "Photobookstore.co.uk", that posts videos of many recent photo books. It is best to buy them, but given the infinite amount of material, it is almost impossible. I am also well-informed about the history of photography. A few years ago, I did an exercise that I recommend to everyone. I downloaded the Encyclopedia of Photography edited by Lynne Warren and began to Google each of the entries. I discovered fascinating photographers and posted a photo daily on my Facebook (I think the folder can still be found). There's also the Youtube channel of Alec Soth that I strongly recommend. Besides that, I read a lot of written theories about art and photography. The conceptual part it's also important. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on? What do you use now? Do you have your go to settings? Is there any equipment you have on your wishlist? AP: Over the years, one learns that the camera is the least important. The photos are taken by the photographer, not by the camera. The gear is a tool. It's funny to see it this way. Do we ask a carpenter what brand of hammers he uses? Is this brand better than the other? And what brand of screwdriver? The important thing here is to have the tools; a hammer and screwdriver. The hammer brand is the least of it. If the hammer is of poor quality, it breaks, and you buy another one, that’s all. With photography, you have to think with the same parameters. There is an obsession about constant technological improvement, which doesn't make much sense. That being said, my first camera was a Pentax MZ-50 (I think), and my last camera is a Canon 5Ds. TPL: What comes next? What are some of your photography goals? AP: As I suggested before, I have a much bigger and more ambitious project that consists of documenting the episodes of recent history through the information that comes to us from the Internet. I started with the Berlin Wall since it is my oldest memory, and I could experience it live on TV. Then came the war in the Persian Gulf, which was also somewhat shocking (in 1991, I was 11 years old). The idea is to continue the historical sequence. The pandemic was something that interrupted this work, but that also became part of the body of work. Now, I'm going to continue with the Hyperreal Archive, which is an infinite project and will last until I die. What I will be publishing will be different chapters of that broader project. TPL: “When I am not photographing, I (like to)… AP: I like to cover every one of my biological needs satisfactorily. After that, I like to read books (mainly philosophy), dedicate some time to entertainment, and watch films by Bergman, Fellini, Buñuel. Enjoy good music, Philip Glass, Charles Mingus. Traveling to nearby towns, going to the beach, eating lobster, watching football, drinking coffee…😁 The Pictorial List would like to thank Adrian for his insightful testimony to the events that took place during the course of the pandemic, and the role media played in influencing society and their reaction to the events that unfolded. Follow his work and watch him expose the realities as he dissects the disinformation, by confronting the truths, making obvious the manipulation and lies. VIEW ADRIAN'S PORTFOLIO Order ZOONOSIS >>> 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'm a street photographer, originally from Ireland but now based in London. I draw inspiration from some of the greats like Saul Leiter and Ernst Haas, as well as some incredible contemporary photographers I've had the pleasure of connecting with through social media. I love to shoot on slightly longer lenses and use elements of abstraction, texture and vibrant colour. As someone who deals with some anxiety issues, street photography has been life-changing for me. It's really become a form of therapy and helped me become much more confident and creative. It's such a fun and accessible form of expression, and I'd encourage everyone to give it a go. DAVID SHORTLAND I'm a street photographer, originally from Ireland but now based in London. I draw inspiration from some of the greats like Saul Leiter and Ernst Haas, as well as some incredible contemporary photographers I've had the pleasure of connecting with through social media. I love to shoot on slightly longer lenses and use elements of abstraction, texture and vibrant colour. As someone who deals with some anxiety issues, street photography has been life-changing for me. It's really become a form of therapy and helped me become much more confident and creative. It's such a fun and accessible form of expression, and I'd encourage everyone to give it a go. LOCATION London UNITED KINGDOM CAMERA/S Fujifilm X-T3 @SHORTY.SHOTS FEATURES // Close Encounters

I grew up in the the Lake District and found my love of photography early in life while exploring it’s wild landscape, this inspired me to study Art, Photography and Film at Manchester. Though it was moving to London, where I really developed my style, spending every spare moment with friends working as a Director of Photography on short films, music videos and other passion projects. The motivation behind my work is to create a cinematic atmosphere, this style draws on my background in art and cinematography, I hope my shots tell a story as they might in a film, whilst also evoking a sense of romance but also the solitude and darkness of the city. MICHAEL DUCKWORTH I grew up in the the Lake District and found my love of photography early in life while exploring it’s wild landscape, this inspired me to study Art, Photography and Film at Manchester. Though it was moving to London, where I really developed my style, spending every spare moment with friends working as a Director of Photography on short films, music videos and other passion projects. The motivation behind my work is to create a cinematic atmosphere, this style draws on my background in art and cinematography, I hope my shots tell a story as they might in a film, whilst also evoking a sense of romance but also the solitude and darkness of the city. LOCATION London UNITED KINGDOM CAMERA/S Sony a6300 @_MIKEY_DEE FEATURES // Sense of Romance

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. TRACES OF TIME April 27, 2025 INTERVIEW PHOTOGRAPHY Zamin Jafarov INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Zamin Jafarov’s photography is a journey through light, time, and the human spirit. Over the past decade, this Azerbaijan-based photographer has cultivated a distinctive body of work that explores the intricate relationship between nature, humanity, and the ephemeral moments that define our lives. Zamin’s photographs reveal a quiet intensity. Whether capturing the solitude of remote mountain regions, the shifting geometry of urban life, or the fleeting gestures of a passerby, his photographs are filled with a sense of presence. There is no rush in his frames — only careful observation, patience, and an instinctive understanding of time as both subject and medium. Zamin’s start into photography began in 2009, developing alongside a deep passion for mountaineering. Perhaps it’s this balance between movement and stillness, the climb and the pause, that informs his unique way of seeing. Zamin’s photographic approach blurs the lines, not confining himself to a single genre — instead, it is a constantly evolving dialogue that spans street photography, metaphysical and abstract explorations, extreme photography, and the quiet power of new topographies. His photography reveals a meticulous attention to detail, using light and shadow not just as compositional tools, but as metaphors for the complexities of life itself. Zamin’s documentary photography further deepens this exploration, capturing raw, authentic moments of everyday life and offering a window into the lived experiences of individuals, cultures, and communities of Azerbaijan. Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin’s long-term projects reveal the layers beneath everyday life, capturing those fleeting moments. He also likes to challenge the notion that the value of a photograph lies in the equipment, emphasizing instead the photographer's ability to uncover truth through their perspective. In his work, the viewer is invited to reflect on the changing nature of human existence and to discover the hidden beauty that often goes unobserved in our everyday surroundings. Currently, Zamin is preparing his first photo book — a collection of images that spans ten years of work, highlighting the evolution of his photographic voice and his commitment to documenting both the immensity and the subtlety of life. As his career continues to unfold, Zamin remains dedicated to exploring how photography can convey deeper truths about the human experience, with each image telling a story not just of what is seen, but of what is felt. In this conversation, we explore the heart of Zamin Jafarov’s vision, his process of capturing moments that reflect the traces of time, and the ways in which his photography questions traditional boundaries to create a visual language all its own. “To me, photography and art carry this meaning: “The Earth without art is just...eh.” The core philosophy is about realizing the act of seeing, learning to observe, and recognizing. The world is rapidly changing, and in this change, within spaces, photographers live, travel, and capture moments. They spend years working, studying, observing, gaining experience, and changing their perspectives to frame just one moment out of the chaos. The key question is, “What do we see and what do we miss?” IN CONVERSATION WITH ZAMIN JAFAROV THE PICTORIAL LIST: How does your experience as a mountaineer influence the way you approach photography — both in terms of physical perspective and emotional mindset? Do you find that the rhythm of climbing mirrors the rhythm of observing and capturing a moment? ZAMIN: That’s an interesting question. I started mountaineering with a photography project. In 2011, my photographer friends Zaur Mirzayev and Vusal Mustafayev and I launched a new project. We created a mountaineering group called “Photo Peak” and began mountaineering courses. It’s hard for me to express my connection to nature in words, just like with photography. When I engage in both activities, it’s true that I lose a lot of energy, but I enjoy the process, and even after many years, those moments remain in my memory, constantly giving me new inspiration, perspectives, and ways of thinking. Both activities require focus, patience, thought, the ability to see and observe, and choosing the right moment to take action, which creates an interesting harmony and rhythm. For me, nature and photography cannot be separated. Nature and mountains always draw me in, despite the challenges. And every time I return, I gain new experiences and a deeper love for life. And, of course, new photos, new work. Another interesting nuance I would like to mention as photographers know, the ideal time for an outdoor photoshoot is about an hour after sunrise and an hour before sunset. However, this rule doesn’t apply at altitudes above 3000 meters. Every moment on the mountain is different and full of surprises. Every photographer agrees that it is the surprises that make photography interesting. On the mountain, there are many shots that not everyone can access. True, shooting with heavy camera equipment, a mountain bag on your shoulder, in difficult terrain and weather conditions, is not easy. One must also consider the potential dangers to life. You have to measure everything carefully. You need to learn to shoot and also pay attention to your health. Sometimes, you wonder, “What am I doing here?” But over time, as you gain experience and continue with confidence, behaving with patience and caution, you carry on. When you return to the city, the many photos and unforgettable moments motivate you for the next trip. TPL: What does home feel like to you, when you're deep in the mountains of Azerbaijan or walking through the old streets of Baku? ZAMIN: For me, the word “home” means anywhere I feel happy. It’s the Earth. Whether I’m with my family, or in the city, taking photos, walking, or exploring, whether in the mountains or any village, it gives me a sense of belonging and being at home. TPL: Your work speaks in quiet tones — patient, present, and observant. What draws you to stillness in a world that moves so fast? ZAMIN: In a rapidly changing world, we need tranquility. Time passes, and we need photography as a way to slow down the pace of life, appreciate the moment, and recognize life itself. It helps us become aware of ourselves and not regret the time that has passed, so we can better appreciate the present and future. TPL: You have described light and shadow as more than compositional tools — as metaphors. What do they represent to you personally? ZAMIN: Photography is life, and light and shadow are essential elements of this life. Everything in life is dual: day and night, cold and hot, good and bad, etc. This dual system sometimes reflects our choices. It’s hard to appreciate one without the other. A picture with only light, without shadow, doesn’t seem as appealing. Like the contrasts in life, this is the core of photography. The main elements of composition are precisely these pairs. Photography comes alive with these dualities and gives contrast. TPL: Why do you sometimes decide to photograph your projects entirely on a smartphone? How does that shift your perception or creative choices? ZAMIN: In the past, film cameras were used, and photographers would think more carefully, using the 36 frames effectively. Nowadays, there are no limits, and it’s even possible to shoot with smartphones. This might bring a sense of laziness, but if used correctly, it’s an advantage. More photos need to be taken to develop faster and improve. Of course, theory must also be considered, and it should be done systematically, forming and finding the aesthetic. I love walking every day, and since my smartphone is always with me, I focused on development and flexibility, and started shooting with my smartphone, which offered unlimited versatility. This helped me think more about content, rather than technical aspects. With my photos, I want to show moments that people might not notice or that they may not have seen, to make them feel what I feel, even if just a little. TPL: Much of your work is a reflection on impermanence. Do you think photography has the power to hold onto time, or is it more about learning to let go? ZAMIN: Photography combines both opposites. On one hand, it shows us a moment frozen in time, but on the other hand, it reminds us that that moment is already gone. For me, photography teaches us to capture the moment, to be present in it, and to appreciate it. TPL: What have your long-term projects taught you about change — in landscapes, in people, and in yourself? ZAMIN: Long-term projects teach you to see where we come from and where we’re going, to appreciate the rhythm of life, and to enjoy the long-term process. They teach patience and the importance of finding new stories within changing times and people. TPL: Can you walk us through what’s typically in your photography bag? Are there tools or objects you never leave behind, even if they’re not technical? ZAMIN: I would probably say an extra battery. This is one of the most common concerns for photographers. Regardless of whether I’m going out for a 1-hour or a 1-day shoot, the important thing is to always be prepared for surprises. TPL: As you prepare to release your first photo book, what do you hope viewers will take away from the experience of seeing your images in a collection versus individual prints or digital formats? ZAMIN: Initially, I wanted the images to not only tell a story but to convey a narrative. Then, I moved away from this dualism. Now, I want the viewers to flip through the book, fall into a rhythm, and experience a mood, not just to look at the pictures. I want them to find enjoyment, peace, and calm when they view it. I plan to present my first book, “Smart Frames”, at my first exhibition, “Traces of Time.” Therefore, the exhibition will feature both a section dedicated to the photos in the book, as well as other smartphone images that link 11 years of history under the title “Traces of Time.” I am currently seeking a sponsor for both the exhibition and the book’s printing. If successful, I would even be willing to hold the first presentation and exhibition outside Azerbaijan, at the sponsor’s request. TPL: Where do you imagine yourself creatively in the next 3 to 5 years? Is there something you want to achieve in this time frame? ZAMIN: In this period, I have new projects and plans to discover new approaches. I plan to focus more on exhibitions and books, and work on prints. I want to expand the boundaries of my photography. TPL: When you’re not photographing or climbing mountains, what grounds you? What kinds of things bring you peace or inspiration? ZAMIN: My main job is different. But one day I hope I will fully do only photography job. Photography, however, is as essential to me as air and water; it is my soul. Besides photography and mountaineering, I find inspiration in my family, being with them, being in nature, looking, observing, hiking, sports, music, books, exhibitions, meetings, sharing and receiving positive energy, communication, and many other elements that I haven’t mentioned. Through Zamin Jafarov’s thoughtful reflections and evolving body of work, it becomes clear that his photography is more than a visual practice — it is a philosophy of living, seeing, and feeling. Whether navigating treacherous mountain paths or quietly observing city streets, Zamin invites us to pause, to look closer, and to find meaning in fleeting moments. His transition from “Traces of Time” to “Smart Frames” signals not a departure, but a deepening — a shift from narrative to pure visual poetry, where color, form, and composition speak on their own terms. As he prepares to launch his first photo book and exhibition, Zamin’s work highlights the quiet power of observation, the emotional depth of simplicity, and the enduring beauty found in the everyday. His images encourage us to ask not just what we see — but how we see. The Pictorial List wishes Zamin every success with his forthcoming book and exhibition. We encourage our community to stand behind his inspiring new endeavor and celebrate the unique vision he continues to share with the world. VIEW ZAMIN'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. BEYOND SIGHT June 30, 2023 INTERVIEW PHOTOGRAPHY Doug Winter INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As photographers we depend on our eyes and vision to create our photographs, perhaps one of our biggest fears is losing our sight. Today we have the unique opportunity of talking with Doug Winter, a photographer that not only experienced his father’s loss of vision, but now copes with partial visual impairment himself. Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. Through his innovative and experimental photographic processes, Doug creates captivating works of art that invite spectators to notice the world in a new way. Doug employs techniques rooted in the analog world. Instead of relying on software filtration or modification, He captures images directly onto the camera's sensor using a modified lens. This approach allows Doug to create distorted, abstract imagery of vibrant colors and emotions. Doug’s art explores the relationship between degraded eyesight, memory, and personal history. He aims to create an immersive experience encouraging people to engage with shared memories. Doug believes everyone should be able to experience and enjoy art, regardless of their abilities and accessibility. This has become crucial in his art practice. Doug adds descriptive alt text to each image, describing its content, composition, and colors. This helps people who use screen readers or other assistive technologies to understand what the photograph depicts and bridges the gap between experiences and art. By incorporating alt text, QR codes, and large print, he creates art that is more accessible and inclusive for everyone. “In 2012, I lost partial vision in my right eye due to a rare blood disorder. In the years that followed, I adapted to my impairment and was curious about what other people may be experiencing with their vision loss. A few years later, my father’s health began to fail, and he developed a total loss of vision in both eyes. My impairment, coupled with my father’s disability, initiated my current project, 'Beyond Sight' , which explores degrees of impaired vision. The images are created from and inspired by the lived experiences of my father. While caring for my father, Harry, I’d ask him to describe in detail what he saw, measuring if his sight was better or worse, depending on the day. He described the shapes and colors of objects and landscapes in photographic terms and conveyed to me that what he saw was “blurry,” “out of focus,” or “was like a broken camera lens.” We talked about his life, memories of youth, lost love and growing up on a farm with little money. I based this work on our conversations. Techniques I use are primarily analog in origin: direct digital capture without the aid of software filtration or software modification. The camera lens I used was modified by taking it apart and reassembling the elements incorrectly, removing the clear focused vision from the lens, distorting the shapes and colors of the objects I photograph. The resulting imagery pushes formal objects into a range of emotions and colors, exploring the connection degraded eyesight has to memory, color contours, and light and how they collectively comprise a vocabulary of personal reality and history. Simplified abstract forms break down visual barriers and allow a broader audience to appreciate the meditative act of experiencing art. My curiosity and fascination (interests) with photography is the interplay between intention and chance, and they often lead me to explore the unexpected and the unplanned. I relish the beauty of accidents and surprises in photography. Through this discovery and investigation, I construct inventive and thoughtful works. Using light, glass, and time, I strive to capture the world in a unique way that communicates the spectator's emotions and experiences. I use the camera to visually express my innermost thoughts and experiences as an artist, always keeping accessibility features in mind. By focusing on color and shape instead of representational imagery, I attempt to create a pathway for spectators to tap into their memories and experiences. The camera is not just a tool for documentation; it is a conceptual device that offers a unique perspective to all. By prioritizing non-representational or abstract elements such as color and shape, I aim to create visual experiences that are both meaningful and engaging for everyone. By incorporating non-visual elements in my artwork, I ensure that individuals with physical limitations can participate and engage in the creative process.” Projects like Doug’s help illuminate a world that most of us think of as darkness, exposing a new reality. A world of color and light. He has embraced the vision impaired community making art and photography accessible to all. We asked Doug to elaborate on some questions we had, giving us more knowledge to understand and support their meaningful work. “I believe that art should be accessible to all, and using alternative methods can help foster a sense of compassion and inclusivity. Through my photography, I hope to inspire others to 'see' the world in a new and exciting way and to create works that are accessible, meaningful, and impactful for all.” IN CONVERSATION WITH DOUG WINTER THE PICTORIAL LIST: Hello Doug, thank you for your extraordinary photographic essay. It is a generous invitation revealing your personal journey, enlightening us with a glimpse into what macular degeneration and ocular impairment is like from your own eyes, and through the eyes of your father. You have allowed us to visualize what blindness or partial blindness is like through your brilliant visual storytelling. We look forward to learning a bit more about you. DOUG WINTER: Thank you for your appreciation of my work. I'm so thankful for this opportunity. I value your interest and support in recognizing the significance of artistic expression in the photographic community. TPL: What was the first camera you ever held in your hand, brought to eye, and released a shutter on that became your tool for personal expression? DW: I was exposed to photography early on as cameras and the family snapshot carried immense value in our household. My grandmother captured family picnics, birthdays, holidays, and parades with her little Kodak box camera. A small closet nestled in the corner of her kitchen housed her small darkroom. As a young person, this mysterious room drew me in, with bits of red light escaping under the door, reflecting off the hardwood floor, whispering to me of the unknown. When it was safe, she invited me in, and I stood atop a chair, my young eyes transfixed on her. I watched as she deftly developed the film she had just meticulously captured with her humble box camera. As I grew older, I began to draw and paint, and time with my grandmother and her creative spirit directed my eventual life path. On my sixteenth birthday, a family member handed me a small, colorfully wrapped package. Anticipation coursed through me as I ripped through paper, tape and bow, unveiling the first camera to call my own - a 35mm Pentax ME Super. Holding the slender metal and glass machine, I examined the camera's lens, knobs, and dials, marveling at the craftsmanship and attention to detail. I noted its delicate stature, dwarfed by its creative possibilities. An instrument that soon became an extension of myself, embarking on a boundless odyssey. TPL: Who was your first influencer, in this new way of engaging and defining the world around you? Is there a profound moment you shared that has stayed with you until today? Would you mind sharing that with us? DW: Several moments and influential figures have left their mark. Among them, the Starn Twins, Barbara Kruger, and Richard Prince are the initial sparks that ignited my artistic sensibilities. Through their captivating works, they opened the doors to new perspectives and ways of expression, shaping the trajectory of my creative evolution. During that formative period, a remarkable librarian at the art school I worked became an invaluable ally. With unwavering support, he curated books that expanded my artistic horizons, fostering a vibrant exchange of ideas. Our shared passion for zines further deepened our connection, amplifying the impact of our relationship. My dear friend Tod Kapke emerged as an exceptional photography artistic force. His artistry and vision left an indelible mark on my creative journey. Though it may remain invisible to others, his influence continues to resonate within the core of my artistic expression. However, my profound connection with my partner Kathryn Mayo ushered in a pivotal turning point. Her presence, guidance, and unwavering support triggered my foray into photographic art. Through her, introducing me to many influential female artists and photographers graced my consciousness, forever altering how I perceive and create art and see a world without a male gaze. Among these luminaries, Nan Goldin's masterpiece, 'The Ballad of Sexual Dependency', stands as an unrivaled pinnacle of photographic art. Its unconventional presentation, emotional depth and raw authenticity have become a constant refrain within my mind, echoing with each passing day. In the developing path of my artistic journey, these encounters and influences converge, enabling a narrative of growth, inspiration, and deep connection. Through the chemistry of kindness and compassion, these encounters (influencers) have shaped my art and perspective on the world, allowing me to navigate the ever-evolving terrain of creative exploration with a sense of purpose and profound gratitude. 'See Me (Endearment) - Day 389' Diptych © Doug Winter 'Northeast - Day 3' © Doug Winter 'Snow - Day 8' Diptych © Doug Winter 'Fluorescence Full Sun - Day 193' © Doug Winter 'Shoulder the Wind - Day 185' Diptych © Doug Winter 'Water Blossoms in Shade - Day 35' © Doug Winter 'Benevolent Kiss - Day 234' © Doug Winter TPL: Your colors evoke emotion, replacing the details that photography so intricately defines, with the illumination of light in a blinded eye. As you experienced your father’s loss of eyesight, explain how you found light in what most consider darkness. DW: I found myself confronted with my father's affliction; a result of a lens replacement surgery gone awry. His vision spun into chaos due to an eye infection that impeded the healing process, leaving his sight forever out of focus. I found comfort and purpose in exploring color, a motivation ignited by conversations with my father about his altered perception. We would embark on a daily ritual prompted by his eye surgeon's request to gauge changes in his vision. These discussions became a touchstone, a gateway to understanding the world as he experienced it, shaped by vibrant or dullish hues and unstructured shapes that danced within his lived memories. Through the intimacy of these conversations and many others, my photographic expression took flight. An embodiment of empathy and compassion began to form a deep connection with my father's altered reality. For the first time in my life, we held a shared experience. The abstractions and colors I weave within my work serve as a conduit, bridging the gap between his fragmented sight and my semi-sighted perception of the world. They embody a shared language, a testament to the power of visual communication and the natural ability of colors to evoke emotional resonance and personal history. Within photography, colors possess a transformative strength, capable of stirring emotions that transcend the accurate details often associated with this art form. They can replace the intricately represented facets of a captured image, illuminating the recesses of a blinded eye. Within this context, I discovered a glimmer of light in the depths of darkness, where sight withers and shadows loom. Through my father's struggle and my own, I embraced a relentless determination to uncover the beauty within the seemingly obscured and unveil the unseen narratives beneath the surface of visual impairment. My photographic journey took shape through the interplay between a father's impaired sight and a longing for connection with him that was previously unattainable. This empathetic lens attempts to bridge the gaps between our divergent experiences, honoring the essence of my father's vision while unearthing the hidden stories that reside within my affliction and artistic vision. Through the language of colors and the gentle caress of light, I seek to ingrain my work with a palpable tenderness for shared experiences and the energy to illuminate and romanticize even the plunging states of our human condition. TPL: When you experienced your own sight impairment, did making these valuable connections with your father help you cope with your own partial blindness with more understanding? Is this why you have worked so hard to support sight impaired individuals to give them hope and a new perspective? DW: Battling a rare blood disorder and enduring the stroke that stole fragments of my vision, a profound emptiness settled inside me. Anger swallowed me, marking my days in darkness as I traveled the punishing path of my treatment, longing to escape from the complexity and pain. In hindsight, when I step back and reflect, I can see the connections that have shaped my current life. It was challenging to recognize the significance and interaction of my experiences during that moment. But as I pause and look back, patterns emerge, and connections become more evident. My transformation stemmed from the slow deterioration I witnessed in my father as he languished in his wheelchair, blind, his ailing health forcing him into a treatment center and reduced to a mere shell of the man he once was, stationed in a wheelchair, hunched over at the edge of the nurse's desk. When visiting him, our conversations spanned through the colors and shapes in his institutional room and dining hall, where personal narratives bounced back and forth. Feeding my father during our shared meals, we would linger on stories of young love and growing up with little money, his voice softening as he spoke of the innocence that once filled his heart. A familiar stranger emerged, a reflection of myself, a reminder that our shared humanity exceeds the limitations that separate us and connect our collective hopes and dreams. Through time and consideration, I arrived at a transformative realization: my visual impairment had a purpose, a role to play in shaping my existence. When others encounter me and remark, “You don't appear visually impaired,” their observation rings true. However, just as my ADHD and autism remain hidden, invisible disabilities are still disabilities, their presence undeniable even when hidden from casual perception. Since my father's death, the quest for understanding accessibility became my obsession. By leveling the sighted playing field by altering photographs, using QR codes, image descriptions, alt-text, and audio descriptions, I aspire to illuminate the importance of equity in visual art. Today as I write this text, I am fortunate to possess the knowledge of artistry as a medium for my expression. Navigating a world that thrives on inclusivity, I'm working to dismantle barriers with accessibility and amplify the voices of those with invisible disabilities. I possess the gift of altered vision, an uncommon lens through which I perceive the world. TPL: How has this project changed your idea of photography? How will it influence how you move forward with other projects? DW: Through this project, my perception of photography has experienced a profound transformation. I am increasingly disillusioned with the confines of traditional photographic rules, harboring a deep dislike towards their restrictive qualities. My decision to eliminate their influence from my work knows no bounds. In my eyes, cameras and their accompanying equipment no longer hold the status of necessities. Instead, this venture has propelled me beyond photography, steering me into the realm of a photographic artist. I employ the camera as a pivotal element within larger artistic projects, viewing it as a stepping stone toward realizing my creative vision. The outcome of purely photographic work is less critical. I explore abstract imagery and conceptual artwork, genres not conventionally associated with photography. This deviant perspective pushes me forward, surpassing the boundaries imposed by the camera. Words, audio, and other accessibility features have become integral to my artistic passion. Although accessibility features are outside traditional photography, they serve as support pillars, enriching and enhancing my work. This fusion of mediums and utilizing non-photographic elements infuses my creative process with an unparalleled sense of intrigue. TPL: What are the triumphs you have been gifted, and what are the tragedies of reality you could not change? DW: I possess the gift of altered vision, an uncommon lens through which I perceive the world. I carry the experiences of grappling with addiction and navigating the complexities of ADHD and Autism. Perhaps the greatest triumph lies in that, despite overwhelming despair, I found the strength to endure, choosing life when the allure of death beckoned so persistently. Seeking help embodies inner strength. There are so many tragedies in my life, but one that I cannot alter is the car accident that tragically took the life of my seven-year-old daughter. This devastating event is an acute reminder of our fragile existence. This cruel circumstance eludes my grasp and leaves a bottomless pain in my heart. Within this spectrum of triumphs and tragedies, I navigate the human experience, embracing the nuances of both happiness and sorrow. Ultimately, kindness, mercy and curiosity guide me, seeking solace in the shared understanding that life is an ever-evolving mass of unimaginable beauty and pain. TPL: What advice would you give to a photographer starting a new project, what are the pros and cons and what are some of the lessons you have learned along the way? DW: The early stages of any project often yield works that fail to meet your expectations, seemingly spectacular failures. I urge you to keep everything you create. Tuck them away in a drawer, allowing time to pass. Weeks or months later, return to them with renewed perspective. Step back, and with a discerning eye, evaluate the evolution of your work. I urge you to adopt the mantra of ABC “Always Be Creating”. Cultivate a ceaseless commitment to the creative process, allowing inspiration to flourish and guide you towards new artistic expression. Stay open to diverse influences, and welcome a broad spectrum of creative voices. Artistry knows no gender boundaries, and we enrich our artistic language by embracing diverse perspectives. Embrace the cultural richness of who you are, and adopt its uniqueness – lead with empathy, compassion, and unwavering artistic dedication. In summary, you should cherish your failures as stepping stones towards growth, preserving each creation for future reflection. Adopt the unyielding spirit of innovation, allowing it to guide you through multifaceted artistic exploration. Embrace the contributions of artists from all walks of life and become one of them. Lastly, “Have fun!” 'Milliken - Day 105' © Doug Winter 'Snow Day, v.1 - Day 67' © Doug Winter 'Eyes Closed - Day 25' © Doug Winter 'Eyes Closed - Day 93' © Doug Winter 'Full of Grace - Day 287' © Doug Winter Doug and his Chapel Installation. Doug Winter has an interesting project called 'Wedding Present'. It is a special artwork that is equitable and affordable by most. Prices for the art range from $3.00 - $3,000 making it accessible to a wide range of art lovers. It allows us all to be Art Collectors for the day. https://youtu.be/aRcHslnO0qs “Memory ultimately holds our most profound personal experiences, even when there are only pieces that survive. 'Wedding Present' addresses the ephemeral quality of memory and the perception of time as it pairs with memory. Each segment of the piece represents how life events can become fragmented and eroded by the passage of time, injury, or disease. As we hold onto the memory fragments, the perception of events in our lives that are shared by family members experiencing the same event might be remembered and retold in a non-congruent way and buoyed by the distorted passing of time. For $3.00 you (the spectator) are encouraged to remove a piece of this photographic artwork. The act of removing a fragment and taking it with you represents the memory and symbolizes fractured recollection that has faded and is partially lost with the passage of time.” TPL: What is your takeaway from this project that will inspire the next one? What do you hope the takeaway was for the viewer? DW: Through this project, a deep realization emerges, unifying us in a fragile web of shared human experiences. Abstract shapes and colors become conduits, allowing me to explore the nature of our interconnectedness as a global community. In this exploration, I understand that the true culmination of art lies not in its creation alone but in the wallflower dance between the artwork and the Experiencer. I use the word 'experiencer' to describe a sighted or non-sighted individual who engages with and takes in artistic expression, encompassing the sensory and emotional aspects of the encounter beyond mere visual observation. The Experiencer breathes life into the artwork, projecting their unique thoughts, actions, and interpretations. The photograph becomes a receptacle, awaiting the touch of each soul to weave its narrative, completing the intricacies of artistic expression. Empathy and compassion intertwine in this realization, for the artwork finds its ultimate purpose in resonating with the depths of the Experiencer. Through this profound connection, art transcends its static existence, becoming a living, evolving entity enriched by the multitude of perspectives and emotions it encounters. The takeaway is that art's true essence lies not in the hands of the creator alone but in the hearts and minds of the Experiencers who bring it to life. TPL: What is on the horizon for Doug Winter? Are there any new projects you would like to share? DW: My current project is a National Endowment for the Arts grant solo exhibition called 'Beyond Sight', scheduled to be on exhibit at the Cosumnes River College Art Gallery in Sacramento, California, from October 5 to November 12 2023. In this immersive exhibition, my artistic vision includes my commitment to accessibility. In the exhibition, along with large-scale photographic images, I will be using accessibility features, techniques and installations that transcend traditional photographic boundaries. My plan is to create a space where photographic art extends its arms to welcome everyone, surpassing the confines of visual perception, hopefully becoming a transformative experience, inviting viewers to navigate a realm exceeding sight’s limitation. TPL: When Doug Winter is not engaged in their photographic practice, where is he? What is he doing? Who is he doing it with? DW: I find comfort and inspiration in witnessing the world through audiobooks, independent music, and the charm of captivating narratives in low-budget movies. Within these areas of imagination, I discover a connection and appreciation for the wonders embodying the power of DIY creativity. For me, there is reassurance in the act of walking. A daily ritual unfolds as I travel the park and trails surrounding my home in Elk Grove, covering a span of 3 to 6 miles. Through the simple act of walking, I rediscover equilibrium, resilience, and exploration. I embrace the uncertainties that lie ahead in my day. Walking stimulates my daily mental rejuvenation, a means to quiet racing thoughts with the stillness of each stride. My ADHD subsides, finds space, and allows room for new creative reflection. I find objects and liberate them from the ground as inspiration. Each step is a new adventure alongside my patient partner, Kathryn Mayo. Doug Winter has shared some valuable information with us, making us aware and sensitive to a more inclusive visual understanding of the different ways we all see, and how we all have the freedom of expression through photography. Have a look at Doug's phenomenal photographic work, where he engages you to critically think in the creative processes of photography. In honor of his remarkable talent and contributions to the arts, he was awarded a prestigious National Endowment for the Arts Grant in 2023. Follow the links and share his inspiration. VIEW DOUG'S PORTFOLIO Doug's Website >>> Instagram >>> Doug's project 'Wedding Present' video >>> 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.