As an independent documentary photographer, I have a strong passion for capturing real-life stories. Originally from Krasnodar, a city in the south of Russia, I made the move to St. Petersburg at the age of 20 to pursue a higher education in journalism. My interest in photography was sparked through my work as a photojournalist on various social projects. Additionally, I contributed to the cultural magazine Most and received my degree from the Docdocdoc School of Contemporary Photography. My focus is on capturing the social issues within our society, and I particularly enjoy the challenge of portrait photography. Currently, I am based in the beautiful city of St. Petersburg. SASHA IVANOV As an independent documentary photographer, I have a strong passion for capturing real-life stories. Originally from Krasnodar, a city in the south of Russia, I made the move to St. Petersburg at the age of 20 to pursue a higher education in journalism. My interest in photography was sparked through my work as a photojournalist on various social projects. Additionally, I contributed to the cultural magazine Most and received my degree from the Docdocdoc School of Contemporary Photography. My focus is on capturing the social issues within our society, and I particularly enjoy the challenge of portrait photography. Currently, I am based in the beautiful city of St. Petersburg. LOCATION St. Petersburg RUSSIA CAMERA/S Canon R WEBSITE http://www.sashadoc.com @SASHAIVANOV_DOC FEATURES // On the Trail of Love Lost

I have set out to document the remains of Great Britain’s inter-war architecture. Amongst these ageing structures lie what is left of the country’s first steps into the Modernist movement. Often in need of sympathetic renovation, occasionally on the brink of demolition, but increasingly seen as important pieces of our heritage, I've have been capturing what is left of ‘yesterday’s future’ while it remains standing. I’ve always been captivated by the progressive architecture of the inter-war years. The architects at the forefront of the Modernist movement took such a huge leap in both concept and aesthetics. I’m fascinated in how this bold European style manifested in the UK, blended with its surroundings and how well the buildings have fared the test of time. In addition to this architectural work, I harbour a fascination for night-time photography. My new book 'Small Hours' brings together a 12-month project capturing artificial light sources after dusk in and around my hometown of Great Malvern. My photographs have been published in a number of different magazines and newspapers including C20 Magazine, RPS Journal, La Vangaurdia, Digital Camera, The Modernist and The Guardian. 2019 saw the publication of ‘Odeon Relics’, a photo-book documenting the surviving buildings constructed by the iconic cinema chain in 1930s. This hardback book features my complete contemporary photo series, period photos by John Maltby and an introduction by architectural writer Jason Sayer. I have also contributed an image to Elaine Harwood’s 2019 ‘British Art Deco’ published by Batsford. PHILIP BUTLER I have set out to document the remains of Great Britain’s inter-war architecture. Amongst these ageing structures lie what is left of the country’s first steps into the Modernist movement. Often in need of sympathetic renovation, occasionally on the brink of demolition, but increasingly seen as important pieces of our heritage, I've have been capturing what is left of ‘yesterday’s future’ while it remains standing. I’ve always been captivated by the progressive architecture of the inter-war years. The architects at the forefront of the Modernist movement took such a huge leap in both concept and aesthetics. I’m fascinated in how this bold European style manifested in the UK, blended with its surroundings and how well the buildings have fared the test of time. In addition to this architectural work, I harbour a fascination for night-time photography. My new book 'Small Hours' brings together a 12-month project capturing artificial light sources after dusk in and around my hometown of Great Malvern. My photographs have been published in a number of different magazines and newspapers including C20 Magazine, RPS Journal, La Vangaurdia, Digital Camera, The Modernist and The Guardian. 2019 saw the publication of ‘Odeon Relics’, a photo-book documenting the surviving buildings constructed by the iconic cinema chain in 1930s. This hardback book features my complete contemporary photo series, period photos by John Maltby and an introduction by architectural writer Jason Sayer. I have also contributed an image to Elaine Harwood’s 2019 ‘British Art Deco’ published by Batsford. LOCATION Worcestershire UNITED KINGDOM CAMERA/S Canon 6DII WEBSITE http://www.philipbutlerphotography.com/ @PBUTLERPHOTOGRAPHY @ARTDECOMAGPIE FEATURES // Small Hours Relics From The Past

PICTORIAL STORY BEYOND THE BRICKS Beyond statistics and headlines, the world of Bangladesh’s brick kilns is laid bare — its quiet struggles revealed through Anwar Ehtesham’s compassionate perspective. November 22, 2024 PICTORIAL STORY photography ANWAR EHTESHAM story ANWAR EHTESHAM introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link 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. His photographs introduce us to the human faces behind the bricks that shape Bangladesh’s cityscapes, bringing forward stories of resilience that often go untold amidst industrial expansion. Anwar’s lens doesn’t merely document; it creates a bridge, allowing us to connect with the dignity, strength, and spirit of these often-overlooked workers, inviting us to witness their lives and contributions firsthand. Anwar’s portrayal dives deeper than the environmental costs associated with brick production, instead celebrating the unyielding spirit of the workers who keep the wheels of progress turning. His journey into photography since 2020 has been fueled by an insatiable curiosity, a willingness to learn, and a steadfast commitment to portraying his subjects with authenticity and respect. Every image and encounter in this project reflect his dedication to visual storytelling — he does not simply observe but becomes part of the story, honoring the individuals he documents with a sensitivity that invites viewers to connect with their lives. In every photograph we see the pride, generosity, and fortitude that defines the spirit of Bangladesh. Anwar’s work stands as a testament to the quiet strength of these laborers, urging us to recognize their contributions. His journey has been one of resilience and humility, capturing stories that honor the lives of those building the foundations of Bangladesh’s future. This feature invites readers to witness these moments, reminding us that true beauty lies in resilience, kindness, and the unwavering spirit of community. In the heart of Bangladesh, amidst the bustling energy of progress, lies the untold story of the resilient workers toiling in the brick fields. As one of the most densely populated countries globally, Bangladesh is undergoing a surge in construction and urbanization, particularly in the housing and communication sectors, demanding a substantial brick supply. With over 7,000 brick kilns scattered across the landscape, contributing around 1% to the nation's GDP and providing livelihoods for over a million people, the brick industry forms a vital cornerstone of the nation's development. The years between 2017 and 2019 witnessed an unprecedented annual brick production of 32.4 billion, showcasing a growth rate of 5–6% over the previous decade, propelled by the swift urbanization wave. However, this surge has come at a cost, as traditional and outdated brick manufacturing methods also known as Fixed Chimney Bull's Trench Kilns (FCBTK) dominate the industry, posing environmental threats and jeopardizing the fertility of the land. The government is now taking proactive measures, not only modernizing the brick manufacturing processes but also exploring alternatives to mitigate the ecological impact and secure a sustainable future. But beyond the environmental impact lies a human story, one of resilience and fortitude amidst adversity. In a poignant photography project, the lens is turned not towards the environmental toll of brickfields, but rather towards the lives of the unsung heroes – the daily laborers shaping the bricks that build dreams. These individuals, predominantly men and women enduring grueling 12-hour shifts (4am to 4am) in harsh conditions, form the backbone of the industry, their labor fueling the nation’s growth. The outskirts of cities and towns become their workplace, deemed unfit for the main urban hubs due to the environmental repercussions. They endure long hours without proper breaks, healthcare facilities, safety measures, sanitation amenities, or weekends yet their spirit remains unbroken. The daily wage for male laborers ranges from BDT 600 to 800 (US$ 5-7), while their female counterparts earn BDT 400 to 600 (US$ 3.5-5), excluding meals. Operating only six months a year, particularly during the dry seasons, leaves these laborers unemployed for the remaining six months, compelling them to seek alternate means of livelihood in urban centers or their home villages. The brick-making process in Bangladesh involves several critical steps. Initially, soil, typically loamy sands, sandy loams, or sandy clay loams, is collected from various regions across the country and transported via large boats. Upon arrival, the soil is moistened with water and processed using machinery to break down large, hard particles. Subsequently, the softened soil is transported by small trolley to laborers operating presses, where bricks are manually molded by hand. Both male and female workers participate in this stage of brick production. Once molded, the bricks are arranged in rows and columns to air-dry under the sun. After reaching an optimal dryness level, they are transferred to kilns, typically indigenous FCBTK, for firing. During the firing process, male laborers typically insert smashed coals into the kiln through covered holes atop the oven intermittently, while female laborers may assist in coal smashing using machines. Once fully baked, the bricks are removed from the kiln and stored before being loaded onto trucks by additional laborers for distribution to construction sites across the country. The majority of the laborers in the brickfield reside adjacent to the kilns, where their makeshift homes are constructed from discarded and weathered bricks. These settlements are often temporary in nature, permitted only during the brick manufacturing season. Living conditions within these slums are rudimentary, lacking basic amenities such as clean water, proper sanitation, and safety measures. Many laborers live with their families, and their spouses and children often assist in brick-making activities to supplement household income. However, with the government planning to shut down most of these kilns, apprehension looms over the community regarding their future prospects. During conversations with them, it became evident that alternative employment opportunities in the village are scarce, exacerbated by the modernization of agricultural practices that require fewer laborers. Consequently, there is a collective hope among the laborers for government intervention to facilitate their rehabilitation and transition to other livelihood options. While talking to one female laborer, namely Ms. Halima, I came to know that she is likely over 60 years old, a daily laborer in a brick field. Her task involves carrying coal to the smashing machine, enduring physical labor from 4am to 4pm. She's an orphan, without a husband or children, residing in a slum adjacent to the brick field, living hand-to-mouth. Despite her hardships, when I requested to photograph her, she smiled and consented, though curious about my intentions. After a brief exchange, she opened up about the trials of her life. As I bid farewell, she humbly requested for my prayers. I went to the same place next week and met her once again. As usual she smiled when she saw me. It was probably lunch time and she was resting in a corner of the brickfield. And surprisingly she asked me whether I wanted to have lunch or something to eat. I apologized and told her that I am not hungry. What surprises me the most is that this woman doesn’t even know whether she’s going to get something to eat. But she was checking whether I am hungry or not. Probabilities are that if I said yes to her, she would have had nothing to eat. Her generosity and kindness literally touched my heart. It’s not just her, two of the laborers offered to have tea and biscuits with them even though we just met probably an hour ago. Bangladesh is often depicted as a poverty-stricken nation by numerous foreign photographers who visit our country. This portrayal, both by local and international photographers, often overlooks our resilience as a nation. Despite facing challenges such as limited access to food, adequate sleep, clean water, safety measures and other basic necessities, we possess an unmatched ability to maintain a positive outlook in the face of adversity. While our economic status may be modest, our spirit remains unyielding, a fact that fills me with immense pride. While I cannot speak for everyone, I believe that our ability to smile amidst hardships encapsulates the genuine beauty of individuals and the inherent strength of our fellow countrymen. Their determination, evident on the streets, serves as a profound source of inspiration for me, not only as a photographer but also as a proud Bangladeshi. The stories of Bangladesh’s brick kiln laborers transcend familiar narratives of poverty and hardship — they reveal a strength, kindness, and determination that define the nation’s spirit. Despite long hours, tough conditions, and the uncertainty of their futures, these men and women embody a profound inner resolve, meeting each day with pride and dignity that remain untouched by their circumstances. Workers like Ms. Halima show us the true power of generosity and endurance, reminding us that, even in the harshest conditions, there is beauty in the human spirit. This project serves as both a tribute to their fortitude and a call for greater recognition of their contributions and humanity. As Bangladesh advances, it’s essential to value and protect those who have laid the groundwork for this progress, ensuring they are not left behind. © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham © Anwar Ehtesham Through these images and stories, Anwar Ehtesham cultivates a deeper appreciation for these enduring workers, conveying the pride he feels for his country. These laborers, the unseen architects of his cities, teach us that true beauty lies in grit, kindness, and the quiet strength that upholds a nation. Their spirit is a profound source of inspiration — one that deserves both respect and remembrance. view Anwar Ehtesham's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. 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.

FROM MY WINDOW Danielle L. Goldstein started photographing the life she could observe from her eighth-floor apartment during the concurrent crises. FROM MY WINDOW October 28, 2020 INTERVIEW PHOTOGRAPHY Danielle L. Goldstein INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As New York City, the epicenter of the Covid-19 pandemic, went into quarantine lockdown in March 2020, Danielle L. Goldstein, a street photographer from the city, found herself unable to document life in the streets as she normally would. Refusing to be held back by the limitations of quarantine, Danielle made an effort to capture her world from her eighth-floor apartment window. What began as an attempt to document life during these unprecedented times soon became an unexpectedly poignant journey as Danielle observed the intersecting crises of Covid-19 and the Black Lives Matter movement with both a heavy heart and hope. Through her photography, Danielle discovered how her fellow New Yorkers were connecting with one another amid isolation and how a sense of resilience and humanity still prevailed. “It speaks to New Yorkers' resilience and how much we care for and look after one another, even if from a distance.” IN CONVERSATION WITH DANIELLE L. GOLDSTEIN THE PICTORIAL LIST: Danielle please tell us about yourself. When did you become interested in photography? DANIELLE L. GOLDSTEIN: I don’t come from an art background at all. I was a history major in college and then went on to law school. I practiced law for a few years, and then devoted myself to raising my two daughters full time. I had dabbled in photography for years, but never in any serious way until I took an introduction to photography class at the International Center for Photography in NYC about 11 years ago. From that moment on I was completely hooked. Photography became my passion and my way of expressing myself. It has become a very large part of who I am. TPL: Explain your idea behind your project observing life from your apartment? DLG: I’m primarily a street photographer. When Covid-19 hit in mid March and I quarantined in my apartment, there were days that I never left. I initially panicked that I wouldn’t be able to go out to shoot, since it’s my source of solace and one of my greatest joys. I spent a good deal of time staring out the window, and it wasn’t long before I realized there was life in NYC that I could document without leaving my home. I began shooting every day at 7pm when my neighbors would emerge at their windows and balconies to applaud our essential workers. Some of my neighbors caught on to me and would look for me and my camera at 7pm. One family would wave and blow kisses every night, my most favorite moment. I also began shooting at other points during the day, often capturing everyday mundane moments and expressions. What I learned most from this project is that you don’t have to go far to make work. In fact, sometimes the best work comes from staying close to home and just being invested in your subject matter. TPL: Do you have a favourite quote or saying that resonates with you the best? DLG: Susan Sontag said that “every style is a means of insisting on something.” Over the years I have had so many wonderful photography teachers who’ve inspired me and helped me grow tremendously. But through it all I’ve stayed true to myself and my vision in my work, despite an occasional push back. TPL: Where do you find your inspiration? DLG: In the streets, architecture and people of NYC. I enjoy shooting all over the world, and hope to be able to return to travel when the world normalizes. But NYC is my first love and my greatest inspiration, and I feel I do my best, most meaningful work right here at home. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? DLG: I’m interested in the juxtaposition of the structures of the city and the individuals who inhabit it. It’s rare that I don’t have a human form in my images. I’m also very drawn to composition and order. I would say most of my images are carefully composed. TPL: Do you prefer to photograph alone or with friends? DLG: Definitely alone. What I learned most from this project is that you don’t have to go far to make work. In fact, sometimes the best work comes from staying close to home and just being invested in your subject matter. TPL: Who are your favourite artists and photographers? DLG: There are so many! The greats in classic street photography, Henri Cartier-Bresson, Saul Leiter , Robert Frank, Lee Friedlander, Vivian Maier, and Ray Metzker. And some contemporary photographers like Alex and Rebecca Webb, Matthew Pillsbury, Alan Schaller, Clarissa Bonet. Edward Hopper is also a huge inspiration. And Harvey Stein, Margarita Mavromichalis and Nina Welch Kling, all friends and fabulous photographers. TPL: Has your style of photographing changed since you first started? DLG: I hope that I have and will continue to improve my craft. But my basic style of shooting has remained remarkably consistent. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? What would you say to someone wanting to start out in your genre of photography? DLG: I think I am in the minority of street photographers in that I prefer zoom lenses to fixed. My preferred focal length is 24-70mm, but for this project I used a 70-200mm. It had been sitting unused on my shelf for a year before the pandemic hit and I found really good use for it! For someone just starting out in photography, my best advice is to go out and shoot, experiment, take a lot of pictures, see what feels right to you and don’t worry about the gear. The camera is just a tool, and it takes some time to figure out how you want to express your vision and what camera and lenses will best accomplish that. Allow yourself some time before you invest in expensive gear. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DLG: I have been making self portraits in hotel rooms for many years now. With Covid, and diminished travel, that project is a bit on hold. But it is one I hope to continue in the future. Now that quarantine restrictions have eased a bit here in New York, I’ve been back out on the street. I often back into projects, and I’m hoping that happens again in the coming weeks and months. I hope the images I am making now will ultimately coalesce into a coherent project that I can develop and work on mindfully. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? DLG: I hope to continue shooting, and to improve , always. But mostly, I hope to continue feeling joy when I shoot and to make work that I am proud of. TPL: “When I am not out photographing, I (like to)... DLG: Spend time with my family and friends, read, exercise, eat out. With Covid, I thought that it was travel that I missed the most. But once things opened up and I could go to the gym, go to museums and meet friends for dinner I realized it is the small things in life that we take for granted that are most precious and most missed when they are gone." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

I was born in eastern Cuba and a son of a single peasant mother. I started taking photos with an iPhone that my uncle gave me on one of his trips to Cuba. I would go out and isolate myself far between the embrace of palms and carob beans. In 2018 I made the decision to migrate to Chile in search of a good job, with the aim of buying my first camera and continuing with this passion that continued to grow every day. I went through 4 countries in less than a month. I was a victim of human trafficking, thirst, hunger and fear. I finally arrived in Chile as an undocumented migrant. I had never imagined living in Chile, much less working there. It was an impossible dream for a young man like me. With the money I earned from the first illegal jobs I did, I bought a second-hand camera. It was a Sony A58, my first camera with the kit lenses. I just feel so good when I'm photographing, living in the moment and documenting life. RUBER OSORIA I was born in eastern Cuba and a son of a single peasant mother. I started taking photos with an iPhone that my uncle gave me on one of his trips to Cuba. I would go out and isolate myself far between the embrace of palms and carob beans. In 2018 I made the decision to migrate to Chile in search of a good job, with the aim of buying my first camera and continuing with this passion that continued to grow every day. I went through 4 countries in less than a month. I was a victim of human trafficking, thirst, hunger and fear. I finally arrived in Chile as an undocumented migrant. I had never imagined living in Chile, much less working there. It was an impossible dream for a young man like me. With the money I earned from the first illegal jobs I did, I bought a second-hand camera. It was a Sony A58, my first camera with the kit lenses. I just feel so good when I'm photographing, living in the moment and documenting life. LOCATION CUBA CAMERA/S Sony Alpha 58 @RUBER_OSORIA FEATURES // The Other Earthquake Social Revolution

Jason Shipley is a passionate British documentary photographer from Kingston upon Hull. He finds inspiration in the people he meets and their struggles, which he often documents in long-term series. His photographs have been featured in such renowned places as the British Museum. Jason's life is filled with photography - full time. JASON SHIPLEY Jason Shipley is a passionate British documentary photographer from Kingston upon Hull. He finds inspiration in the people he meets and their struggles, which he often documents in long-term series. His photographs have been featured in such renowned places as the British Museum. Jason's life is filled with photography - full time. LOCATION UNITED KINGDOM CAMERA/S Nikon, Fuji X-T3, Hasselblad FEATURES // Comrades Forever Hurtful Tradition Life Through My Lens

PICTORIAL STORY GHOST BUSTERS February 12, 2021 PICTORIAL STORY Photographs by Mary Crnkovic Pilas Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link From Sydney to the vibrant culture of Zagreb, Croatia, Mary Crnkovic Pilas has long been inspired by the beauty of photography. Based in Zagreb since 1992, this street and documentary photographer is most renowned for her stunning black and white images. But for this special feature, Mary shares something a little different, a unique insight into the Croatian carnival tradition of bell ringers through her vivid and colourful photography. During the January carnival period, villagers shod in heavy boots, shaggy costumes and rather "unconventional" hats march through the countryside of Kastav and coastal Rijeka in Northern Croatia: the bell ringers (Zvončari in Croatian). They are an awesome lot to behold, and they make a lot of noise! Imagine heavy brass bells for "tails" or around your waist, jumping around and shouting at full volume - well, you can imagine that this would wake you up - or, as the case may be, chase away the ghosts of winter. This tradition is considered an intangible cultural heritage by UNESCO. The custom dates to Slavic pagan days and remains a cherished tradition in this region. The primary task of bell ringers is to scare away the evil winter spirits and to invite in a new spring. Bell ringer groups usually consist of 10 to 20 members but can be much larger on weekends and festive days. The costumes vary from region to region. In the Rijeka area, the standard costume includes white trousers, a striped shirt, and a sheepskin throw. Bell ringers from the western Kastav region wear hats covered with paper flowers instead of animal masks. Yet others are covered in a floor length covering of colourful paper ribbons. Only the Halubian bellringers wear large "wild thing" masks instead of hats. This was previously the most common form of head covering for bellringer groups, but during the Italian occupation they were prohibited. Regardless of the costume variant, all of them carry brass bells, but they may ring them differently. Their route through the villages of their area can sometimes be up to twenty kilometres long. Some of these groups move around in a procession from village to village in a swaggering motion and bump each other's hips while moving, a very strenuous way of moving forward, requiring some level of skill and strength. Others run fast from house to house jumping and making their costumes jiggle. Costumes vary widely from village to village, with extraordinary headgear and shaggy fur, or flowing paper ribbons. What they usually have in common is either one large bell or belts of bells around their waist. As a highlight of their visit to each village, ringers arrive in the centre, where they begin forming a circle and bounce around, ringing fiercely. After that they are usually approached by the residents of the village and offered some refreshments, before moving on to the next village. The processions culminate on Shrove Monday and Tuesday, marking the end of carnival season and the beginning of Lent. On the last day of the carnival period a puppet called Pust is "put on trial" for all misdeeds on the past year. The unfortunate puppet is then sentenced to death by fire or hanging. Music and dance often accompany the festivities. The wearing of masks, with which humans celebrate fertility rites, drive away evil spirits and mark the passage of winter into spring is a fixture of many civilizations and can be found in all parts of the world. The social significance is the relationship and cohesion of villages in which the ritual takes place, showing mutual support for each other. The custom also involves the preparation of special meals, and the maintenance of ancient handcrafts, such as making mask and bells. Elements of folk theatre and differences in ethnicity are reflected in the varying costumes. © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas © Mary Crnkovic Pilas This custom is being kept alive by local communities, who attach great meaning to it. Young and old alike value the tradition, and the young learn bell ringing skills from older bellringers. So now you know, where the wild things are; in Croatia... view Mary's portfolio Read an interview with Mary >>> Read the story "BROKEN HEART" by Mary >>> Website >>> Instagram >>> Sources used in story - Video | bell ringer procession Matulji Region Page about the bell-ringers festival UNESCO page about the intangible cultural heritage of Croatian bell ringing Wikipedia | Zvončari 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 >>> ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. 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GRATUITY INCLUDED Chris Suspect is a street and documentary photographer whose work specialises in capturing absurd and profound moments in the quotidian. GRATUITY INCLUDED October 9, 2020 INTERVIEW PHOTOGRAPHY Chris Suspect INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Chris Suspect is an acclaimed street and documentary photographer whose work has been exhibited around the globe and has won numerous awards. His photography captures the absurd and profound moments in everyday life, as well as the results of his deep dives into various subcultures. He is currently the chairperson of the Focus on the Story Festival in Washington, DC, and a guest lecturer at StreetFoto San Francisco and Street Photo Milano. His work has been published in the form of a book titled Suspect Device, which is held in the Leica Galerie Archives. In this interview, we delve into Chris Suspect's relationship with photography and uncover the stories that have shaped his approach to the craft. We explore the creative processes that inform his work, the events and experiences that inspire him, and the impact photography has had on his life and career. “Photography has literally taken me around the world. My first publication, Suspect Device, in 2014, brought me to Photokina in Germany where my work was included in a massive exhibit on music photography. This was part of Leica’s presence at Photokina, and they flew me to Germany to participate. While there, I shared my work with several German gallerists, and those connections brought me to Tbilisi, Georgia, for an exhibit of the same work as part of the Kolga Tbilisi Photo Festival. While this was going on I was also entering my street photography work into several street photography competitions in Miami, San Francisco, London, Brussels, etc. I often was a finalist in these events and over time I have been asked to present my work in these locations. All of this served as a springboard to other opportunities, which led me to Romania, Italy, the Middle East, etc. It’s been a nice and surprising journey.” IN CONVERSATION WITH CHRIS SUSPECT THE PICTORIAL LIST: Chris please tell us more about yourself. What led you to photography? CHRIS SUSPECT: I am from Hyattsville, MD, just over the border of Washington, D.C. While the DC area has been my home for most of these years, I have lived in Moscow, Bangkok and Copenhagen. In addition to being a photographer, I am also a musician, video producer and podcaster. My interest in photography started in my early 20s. I was not a photographer at that time but a bass player for a punk band called The Suspects. I used to go to the library to browse photo books and then make copies of the photos I liked for band flyers. I was primarily interested in war and crime photography because these kinds of graphic images lend themselves to great promotional posters for the kind of music we played. Fast forward 15 years and I wound up getting my first point and shoot camera to document the birth of my son. I read the manual and would go out on my own and try to see what I could do creatively with the camera settings. I had no idea I was doing “street photography” at the time, I was really looking to recreate the style of images I used for flyers many years ago. After some positive feedback on Flickr, many stolen images by bloggers, and requests by a few magazines, I decided to get more serious and started to pursue photography by enrolling in a colour photography class as a continuing education student at the Corcoran School of the Arts and Design. TPL: What excites you about the photography you are creating? CS: Ultimately what inspires me is that I do photography for myself. When I started out I told myself I did not want to do photography for money or earn a living off of it. In the past, I have started many creative ventures, for example music publishing, videography, and podcasting, that have turned successful and have become a job. Meaning, I started doing work for clients. What ultimately happens in each case is that I found myself doing work more for the money than for the sake of doing the work itself. This sucks the passion for it right out of the process for me. I think by not caving in to the lure of financial gain, I have been able to maintain my passion for my photographic work. It doesn’t matter if I make money or not. That is not what photography is about for me. Just the ability to create what I want to create, whether successful or not, is what keeps me going and still excites me to this day. TPL: How do you choose your subjects and your projects? Also tell us a bit about your two previous published books? CS: Almost everything for me begins with a serendipitous act. Often I don’t choose a project, it finds me. For example, I have a body of work called Faith that explores gay African Americans and their relationship with religion. This came about by witnessing a car accident in Washington, D.C. I photographed the scene and gave copies of the images to the person who was hit by the car. Months later this person called me up and asked me to shoot a party. Knowing he was black and gay I thought it could be interesting, as I had never been to a party like that before. This experience opened up a whole new world to me that eventually led me to shooting underground African American Baptist Church services. Going to Romania for the VSLO photography and visual arts festival is what led to working on “Old Customs.” I wasn’t planning on starting a project when I went there, but once I got interested in their youth culture I just kept pulling on those threads and pursuing it, doing my best to make sense of what I was doing. At the start of 2020 I made a New Year’s resolution to publish 4 books, 1 for each quarter of the year. Old Customs is book number 3. The previous books are Gratuity Included, a collection of wild party-type photos from over the past 8 years that reads like a fever dream or an Alice in Wonderland-type sequence, and Leather Boyz, a deep dive into the gay BDSM culture in Washington, DC. The fourth book will likely be a return to my roots with an emphasis on music photography. All of these other books are black and white. Old Customs is the only one in colour. TPL: What was the process of getting the people in Vama Veche to be open to you photographing them? Can you describe your creative process in your project/book OLD CUSTOMS that you shared in our stories? CS: A lot of photographs in the book are straight street photography style observations, so I basically just shot freely, like I do in any public space situation. Unlike a lot of countries in Europe, Romania seems more open to candid photography. As far as the conceptual mirror shots go, that came about by meeting people through the photography festival I attended and who were open to my ideas. There are a couple of exceptions where I just met people on the beach or in the town and they were willing to be part of the project. What’s interesting is when I share an image of a mirror shot from my phone, people become really intrigued and open up to the idea of being a subject. It helps that you do not see the person’s face so it allows for anonymity as well. TPL: Do you have a favourite quote/lyric/saying that resonates with you the best? CS: Yes I do! The quote is, “In the fields of observation chance favours only the prepared mind.” This was said by Louis Pasteur, the great French biologist, chemist and microbiologist. Even though he is referring to the process of scientific discovery it also applies to the art of photography. How do you prepare your photographic mind? You take classes, you read photo books, you study the masters, etc. Having all of this photographic history and knowledge in the back of your mind while you are out shooting helps you to better identify interesting situations and challenges, things you may miss if you don’t study this sort of background material. Once you get to this point, you can really start to develop your own unique visual identity or voice. Just the ability to create what I want to create, whether successful or not, is what keeps me going and still excites me to this day. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? CS: A lot of what I am trying to express is really dependent on the project or goal. For example “Old Customs” is partly about expressing the feeling of freedom. However, there are numerous photographic tropes and elements that I often return to or explore. One of these is trying to have the viewer feel as if they too are in the midst of the action. I like to get close and I want the viewer to be part of it. Another is humour, I am a sucker for visual puns and juxtapositions. I think gestures can be very telling. And light is very important. I always try to consider the role and meaning of light (or lack of it) in my images to convey a feeling or an intentional interpretation I want to bestow on the viewer. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CS: I am inspired by many different photographers and artists, from Lee Friedlander and Dawoud Bey to Barbara Kruger and Jeff Wall. All of them have opened my eyes to different approaches and techniques. I often “borrow” or reinterpret ideas from various photographers from time to time depending on my end goals. For my black and white work I am definitely inspired by people like Weegee, Anders Petersen, Larry Fink, Daido Moriyama, and Robert Frank. In my colour work I often look to folks like Joel Sternfeld, Alex Webb, Harry Gruyaert and Ryan McGinley. TPL: Has your style of shooting changed since you first started? CS: I don’t know if it has changed as much as it has been refined. I first gained notice as a music photographer, then as a street photographer and documentarian. I have since moved on to personal diary type work and I am now exploring ideas of conceptual work. I think all of these genres or styles for me still contain the principal elements of my photographic voice. They just get adapted to the genre I am shooting in. If you study the work of Lee Friedlander you will notice his particular viewpoint weaves itself through a wide variety of styles, from street photography to landscapes and nudes. The same holds true for numerous other photographers that have had a long and varied career. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? CS: I have two cameras that I have stuck with throughout the years, mainly for their form and image quality. I have a Leica MP and Ricoh GR II. And, I usually stick with a 35mm or 28mm focal length depending on what I am shooting. Both the Leica and Ricoh are unassuming cameras. I always use my Leica during the day and sometimes at night when I know I am going to be shooting something with purpose. The Ricoh I often take with me at night when I have no real plans. It’s just super handy and can produce fantastic images with the on camera flash aesthetic you see in a lot of Japanese street photography and fashion photography from the 90s and 2000s. As far as focal length goes I use the 35mm during the day and the 28 mm for when I am in close quarters and want to capture as much of the scene as possible. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? CS: Once the COVID-19 nightmare is over I’d like to return to shooting and travelling more. This has really been a tough year for me photographically as all of my work involves people. I have been thinking about what I’d like to explore and I have some ideas of what I’d like to pursue. But for now my main goal is working on this current books project. I hope the ground work that I am laying in 2020 with these publications will offer me more opportunities in the future for exhibits, travel and workshops. I also have a few more book ideas that I already have content for. So essentially in five years I hope to be doing more of the same while broadening my photographic practices. TPL: “When I am not out photographing, I (like to)… CS: I love cooking so I am always working on new recipe ideas and food combinations. I also enjoy playing music with friends and neighbours. And, I am a fitness freak to some extent. I exercise almost everyday, whether running or lifting weights." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. 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I am an Iranian artist and photographer based in Guilan, on the northern coast of Iran. Inspired by conceptual photography, I create minimalist landscape photographs that are strongly rooted in themes, ideas and symbolism. I have a background in painting and while photography is my preferred medium today, I often combines aspects of both into my working process, often inspired by my own thoughts and dreams, and chance and coincidence. To me, minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world. MOSTAFA NODEH I am an Iranian artist and photographer based in Guilan, on the northern coast of Iran. Inspired by conceptual photography, I create minimalist landscape photographs that are strongly rooted in themes, ideas and symbolism. I have a background in painting and while photography is my preferred medium today, I often combines aspects of both into my working process, often inspired by my own thoughts and dreams, and chance and coincidence. To me, minimal photography is an art in the way that artists learn how to omit the extra elements which seem to be very necessary in such a hectic life. I see it as an international language to communicate with the people round the world. LOCATION Guilan IRAN CAMERA/S Canon 7D @NODEHPHOTO FEATURES // Notes On A Landscape

I prefer images which are able to transfer emotions.​ I'm looking always for a shot with an 'interference' between the lens and main subject to give the best alchemy to the shot. I define myself like an enthusiast improviser. 2011 VOGUE fotografo non professionale - unprofessional photographer 2012 CORRIERE DELLA SERA vincitore contest “FOTOGRAFA LA TUA CITTA’” - contest's winner 2013 VOGUE & PHOTOLUX esibizione c/o photovogue a Lucca - exibition 2014 LARK CRAFT BOOKS contributo fotografico (LIBRO FOTOGRAFICO) - photographic contribution 2015 REGIONE LOMBARDIA contributo fotografico - photographic contribution 2015 NOVECENTO EDITORE immagine per copertina libro - cover book 2016 ARBITER contributo fotografico - photographic contribution 2017 INSTAGRAM vincitore contest con premio stampa (SALAD PRINT) - contest's winner 2018 CORRIERE DELLA SERA contributo fotografico (LANCIO NUOVO VIVIMILANO) . photographic contribution 2019 COMUNE DI MILANO contributo fotografico - photographic contribution LUCA STRIPPOLI I prefer images which are able to transfer emotions. I'm looking always for a shot with an 'interference' between the lens and main subject to give the best alchemy to the shot. I define myself like an enthusiast improviser. 2011 VOGUE fotografo non professionale - unprofessional photographer 2012 CORRIERE DELLA SERA vincitore contest “FOTOGRAFA LA TUA CITTA’” - contest's winner 2013 VOGUE & PHOTOLUX esibizione c/o photovogue a Lucca - exibition 2014 LARK CRAFT BOOKS contributo fotografico (LIBRO FOTOGRAFICO) - photographic contribution 2015 REGIONE LOMBARDIA contributo fotografico - photographic contribution 2015 NOVECENTO EDITORE immagine per copertina libro - cover book 2016 ARBITER contributo fotografico - photographic contribution 2017 INSTAGRAM vincitore contest con premio stampa (SALAD PRINT) - contest's winner 2018 CORRIERE DELLA SERA contributo fotografico (LANCIO NUOVO VIVIMILANO) . photographic contribution 2019 COMUNE DI MILANO contributo fotografico - photographic contribution LOCATION ITALY CAMERA/S Canon EOS1000d WEBSITE http://www.lucastrippoli.wixsite.com/photography @LUCA.STRIPPOLI FEATURES // My Visual Diary

LIGHT DIRECTION Stephen Simmonds lets the light direct him in his photography, seeking out the negative spaces and interesting shapes of London city. LIGHT DIRECTION March 31, 2020 INTERVIEW PHOTOGRAPHY Stephen Simmonds INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The power of photography to tell stories is undeniable; the ability to capture a moment and make it last, to evoke strong emotions, and to convey powerful messages is unique to this art form. Such an example of photography is the work of British photographer Stephen Simmonds. His work is strikingly minimalistic, with strong shapes and lots of negative space, and it is all the more remarkable considering he only started taking photography seriously two years ago. To capture his shots, Stephen spends his days walking to and from work on the streets of London, allowing the light to guide him as he searches for interesting compositions created by how light interacts with people and their surroundings. It is clear that Stephen has a natural eye for his craft, and he has created beautiful images that tell stories and evoke strong emotions. It is clear that for Stephen, photography is more than just a hobby – it is an art form that he is passionate about and one that he is rapidly mastering. For anyone interested in understanding the power of photography, learning more about Stephen Simmonds’ work is an excellent place to start. This is the real secret of life — to be completely engaged with what you are doing in the here and now. And instead of calling it work, realise it is play. – Alan Watts “I keep telling myself this…and I keep forgetting to do it.” IN CONVERSATION WITH STEPHEN SIMMONDS THE PICTORIAL LIST: Stephen, do you remember when you first became interested in photography? STEPHEN SIMMONDS: I guess my first experience of photography when I was around 10 years old, and my dad used to play around with a Canon SLR. He was pretty into it for a while and I remember how much he enjoyed it. In my adult life I've always been involved in image creation. Working as a motion designer for the last 17 years and art directing animated pieces for major global brands has meant that without realising, a lot of ground work in terms of lighting and composition, had already done before I'd even picked up a camera. However I finally picked up that camera, a Fuji XT20 with a true intent to take photography seriously, around 2 years ago. TPL: Where do you find your inspiration? SS: The regular hang outs - Instagram, YouTube etc. However recently my photography has taken on quite a graphic style and that can only come from my day job as a designer. TPL: Do you have a different style of photographing today than when you first started? SS: Massively, and partly because I have been discovering that style. I've been trying loads of stuff out. Landscape, macro, street. I've given it all ago. Recently I've discovered the joy of street photography but not in a classic sense. I guess I'm less interested by the people but more interested in what happens when people, interesting light and their surroundings interact. Simplicity is what I look for in my images. I like to use a lot of negative space to frame a subject or draw attention to something in the shot. TPL: Where is your favourite place to photograph? SS: Where I shoot is usually dictated by where my busy life puts me. I work in London and use my walk from train station to studio to take photos. This usually is from London Bridge to Farringdon. There are multiple routes you can take and you pass through some interesting places. I live out of town on the cusp of the countryside and find myself looking at more organic lines and less people at the weekends. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? SS: Yes and no. It's important in that you need something to take photos with. And obviously it's nice to have the best gear you can afford. It's not entirely necessary thou and great photos can be taken with any camera. However gear is fun and I'm not scared to say it. I love it when technology has a positive effect on creativity. For me these two things go hand in hand. It's all part of the enjoyment of photography. I primarily shoot my Fuji XT3 - I love Fuji’s approach to making cameras. Everything is so tactile and visual - you hardly have to touch the menus. I also use the Ricoh GR3 its so tiny and the image quality is outstanding, it makes having a camera on you at all times so so easy. Shoot as much as you can. I was told this when I started, so I did. Like most things the more you practise the better you get. It's really that simple. I feel like I have a long way to go yet and loads to learn. We all just need to keep shooting. Always have your camera on you. Be patient and let the light tell you where to point your lens. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? SS: Nothing more than a desire to create. Anyone could become a photographer if they wanted too but those with a desire to shoot, and a true enthusiasm to freeze time will become great photographers. (Oh and a tonne of patience). TPL: Have you ever been involved or part of the arts? SS: I'm the co-founder and creative director of a motion design studio called weareseventeen and have been for 14 years. Before that I studied motion design at university in London. Luckily I've only ever been involved in creative endeavours. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SS: Favourites would include Jonas Rask, Sean Tucker, Rachael Talibart, Joshua K Jackson and Craig Whitehead. There is also a guy in the states who goes by the name of @professorhines, he's awesome. I take influence from all of these and more. Rachel Talibarts approach to photography resonates with me and despite our subjects and styles being completely different, I like the way she lets the photos she's taken sit for a while before she decides whether they are portfolio worthy. This makes a lot of sense to me...because my photos always seem to look different when I look at them a second time. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SS: Not really but the thought of being more focused with my photography is appealing. I set myself micro projects all the time…for example “today is all about diagonal lines” So some kind of more long term project is something I'd like to focus on. Printing photos is my number one goal at the moment. A printed photo feels so special. It feels finished. I recently attended the ;My London' exhibition and seeing the printed photos on the walls really inspired me to print more. TPL: "If I wasn't photographing what would I be doing?... SS: Running around after my kids and dog and begging my wife to let me go out and take some photos. 😉" PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.

A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. A LOVE SONG TO THE AMERICAN WEST A WONDROUS NOTE September 6, 2023 INTERVIEW PHOTOGRAPHY Ross Taylor FEATURING cellist Russick Smith INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE We have the pleasure today of seeing and hearing the visual stories created between a photographer, and a musician. As the wind sweeps through the landscapes the notes of a cello fill every void. How does a photographer elicit sound, allowing us to see the music, as our ears interpret what we see? Photographer Ross Taylor is based in Denver Colorado, focusing his eyes through the lens on the ordinary, engaging the viewer to observe more. Ross frequently documents events that have led to human trauma, he finds that through his visual storytelling he can help mitigate grief. Ross explains. “I seek to create work that reveals and lends new insight into common experiences, In hopes of creating a deeper understanding of the human condition through visual representation.” Living in Colorado has inspired a new series, a love song to the American West. The musical scores are composed and realized in the western landscapes of the United States, performed by cellist Russick Smith. Together Ross and Russick journeyed nearly 3000 miles, across Colorado and Utah hoping to create a new awareness for geological fragilities that are suspect of the preservation challenges of the devastating effects of climate change. Through a heightened sense of wonder seen in this photographic series they hope to inspire new respect for these spaces. Russick Smith and his cello bring life to the landscape. Whether performing for audiences high above, like a bird nesting in the trees, Russick plays the accompaniment to the rushing waters of the estuaries cutting through the landscape, carving through the canyons. Together they synthesize the elements, visualizing the music and allowing a deeper, more meaningful connection to be made. Russick adds insight into the creative and critical thinking processes they shared. “Many of the unexpected circumstances that we encounter throughout our lives are negative, possibly traumatic experiences. Those experiences have a tendency of mounting internally, fostering a cynical mindset that can ultimately become the default lens through which we view the world. To counter these negative surprises, and thereby the cynicism which they foment, my goal is to generate simple and meaningful moments to prove that the world can be unexpectedly beautiful - that to interact with the world-at-large does not just mean susceptibility to trauma but also vulnerability to joy.” Russick recently lost his father and finds these performances help him heal the trauma of losing a loved one. He shares his loss and inspiration. “Once, as I sat up in an aspen grove, I played what I would’ve played if I could have sat with him and played him out. I had clipped a picture of him into a tree below, nobody knew it was there. It was the last thing I took out of his place when I cleaned it out. I felt like it was the first tree performance, and he was looking up at me, still helping. When I am helping people see the beauty of this world, I am continuing his legacy. And when I’m playing, no matter where, I’d like to believe that the music is still reaching him; that maybe it finds its way to places at which I could only wonder, to wherever he’s hiking now. Doing these things, the way I’m doing them, I know that he was proud of me and, hopefully somewhere, still is.” Together Ross and Russick have transformed the American West landscapes, with a symphony of music, allowing the aperture to open providing the viewer with a front row seat to the visual stories that embody the elements through sound. We have been invited to reveal more of the magic they create in this interview with Ross Taylor that may lead to more understanding of their visualization and their inspiration. “The narrative we consistently pursued was one of unexpected joy, as that counterbalance to cynicism. While you don’t see it in some of these images, there were sometimes people who stumbled upon us as we made these images. To see their faces, light up and the joy they held in watching him perform was so wonderful. I think that’s at the heart of it - creating something ostensibly just beautiful for its own sake, that’s what we are trying to do.” IN CONVERSATION WITH ROSS TAYLOR THE PICTORIAL LIST: Thank you Ross for taking us on your journey through the landscapes of the American West. How did the two of you find each other? What was the connection before this project? ROSS TAYLOR: Thank you so much for this opportunity. It’s an honor to be here. I first learned of Russick from an article in The Denver Post, where I saw an image of him in a tree. It was amazing - I’d never seen anything like it (or him) and wanted to learn more about him. I contacted him via social media, and we later met for coffee. I learned some about his unique past - in part, that he used to work on tall ships along the East Coast and was used to climbing with harnesses high above a ship. I asked if he’d be open to a collaboration over the next year and, thankfully, he agreed. TPL: Taking a journey over so many miles can be a bonding experience, or distancing one. What were some of the ground rules? Was working together and living together a key to this project? If so how and why? RT: You’re right. We spent a lot of time together, not just in the making of the images, but in the preparation of them. We also don’t live in the same city (we live roughly an hour and a half from each other), so coordinating these sessions required a lot of planning. During these sessions, we grew a lot closer together, which was key since collaboration was at the heart of this project. We spent scores of hours either together in a car, in a hotel or on location and the ability to get along was critical. Our one ground rule, per se, was that the images had to be made in unexpected spaces in nature, and whenever possible, in remote locations. In short, we wanted as much distance between the expected norms of cellist performance as possible. The idea was to invoke a heightened sense of wonder as a result. TPL: Introduce your series, ‘A Wondrous Note’, to us. When and how did this project first manifest for you? What is the full story behind the project? What was the inspiration? RT: The project began in fall of 2021, our first session together was along a mountain pass outside of Breckenridge, Colorado in an Aspen grove. It was there, seeing Russick high above in an Aspen tree mixed with the brilliancy of the fall colors, that I felt we were onto something. I think the story behind the project is multi-layered. I’ve worked as a photojournalist for a long time, and I’ve covered some very intense and traumatic issues along the way. For me, this portrait series was a type of counterbalance to some of this work. I wanted to give myself permission to ostensibly create work that was beautiful and could spark joy, and Russick felt the same. As noted in this piece, Russick’s father passed away unexpectedly not long before we began this series. He was quite close with him, and his father instilled a deep appreciation for nature. While I can’t speak for him fully, I do know that he thinks of his father often when he plays in such locations. As a team, we both also wanted to create a sense of wonder in these images, through the connection of his performance and the stunning backdrop of the American West. TPL: Talk to us about your method and experimentation before the final images in your project. Did you know how you wanted the project to look? How long did each image take to create? RT: Russick has lived in Colorado a long time, so that helped in our understanding of the region. His insight, paired with my understanding of visuals, helped us scout out locations and time of day/lighting, etc. Regarding the aesthetic, we wanted no imprint of human activity (buildings, power lines, etc.) and a theme of remoteness throughout. Most images usually took a day (more or less) as we normally would photograph around sunset and just had time for one scene (typically). The actual photographic part was usually a window of about 30 minutes to one hour. TPL: What camera did you use? How much equipment did you bring, what did you use? What was Smith’s equipment? RT: I used a Nikon D850 with a 24-70mm, 35mm, or a 50mm, typically. I often brought a 8-foot ladder, or a step ladder when needed. Russick brought a cello that he uses for outdoors and he hand-built his tree harness! It’s really impressive. TPL: What importance does storytelling or key themes hold for you? RT: For me, storytelling ties us together. It helps bridge gaps and offers connections through a shared experience and heightened understanding. When you mix this with unexpected moments of joy and beauty in the natural world, I think the experience is also more deeply shared. I wanted to give myself permission to ostensibly create work that was beautiful and could spark joy, and Russick felt the same. TPL: Was there a time of day you aimed for? Music is played in time, did time dictate the music? RT: We usually photographed at sunset, and we had to make sure weather conditions were appropriate (not too cloudy, etc.) He played usually improvisationally and he’s exceptionally good. It was a joy hearing him play. TPL: Did you keep a journal, a sketchbook, did the music and photography inspire words? What stories did you share over a campfire? RT: I didn’t keep a journal, but we did work out some of the wording you referenced earlier in the piece. It took some time for us to distill the project idea. And while we didn’t have a campfire, we spoke often and at length about some of the deeper issues we’ve faced in our lives, and how creating work like this can be therapeutic. I’ve very grateful for those conversations. TPL: What were some of the surprises along the way? What was your 'take away'? RT: I think almost each session had a surprise, mainly in seeing Russick perform in such stunning places. It just so unusual, seeing and hearing him perform with stunning backdrops. It’s also really fun seeing people who come across us. One woman we ran across in a slot canyon in Utah told Russick it was the most moving performance she had ever seen. My 'take away' from this is that it’s ok to want to create work that has the potential to be therapeutic, in whatever form that may be. TPL: What do you want the viewer to 'take away' from the visual stories? RT: Our hope is what we talked about above, namely that the images can spark some unexpected wonder and joy in the viewer. I know creating these images did this for Russick and me. TPL: What have you learned about collaborating on projects? Share some of your wisdom about making these honest connections through photography and music. RT: Collaboration was key here. I couldn’t have done this without him, obviously, and the same for Russick. Together, we created something beautiful, in my opinion. Making these images was an honor. To hear Russick playing high in an Aspen tree, in a lonely desert landscape or with the backdrop of mountains at sunset, was just such a privilege. I don’t take it for granted and will always be grateful. Thanks so much for allowing us to share these images, as well. It means a great deal. TPL: “When I am not out photographing… I love to be outside exploring Colorado and the surrounding western states. I also really love to hike high elevation mountains - anything above the tree line is where I like to be.” PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. 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.