We are on a mission to discover new photographers, and the most pictorial and interesting photo stories out there. SPOTLIGHT / Laetitia Heisler Berlin, GERMANY AARON RUBINO ABBIE BRIGGS ABDULLA SHINOSE CK ABHAY PATEL ABHISHEK SINGH ADAM SINCLAIR ADESH GAUR ADRIAN PELEGRIN ADRIAN TAN ADRIAN WHEAR AGATA LO MONACO AHMET HOJAMYRADOV AJ BERNSTEIN ALAN THEXTON ALEJANDRO DAVILA ALESSANDRO GIUGNI ALEX FRAYNE ALEX GOTTFRIED BONDER ALEX RUTHERFORD ALEXANDRA AVLONITIS ALEXANDROS ZILOS ALEXEY STRECHEN ALICIA HABER AMY HOROWITZ AMY NEWTON McCONNEL GET ON THE LIST © John St.

As a child, I was always intrigued by the camera that my father used to make pictures. I soon received my own, a Konica pop in 1982. Ever since I have been photographing wherever I go and always carry a camera with me. I try to be aware of my own experiences in life and connect them to my photography in several different projects. Atmosphere and emotions are the most important for me. FANJA HUBERS As a child, I was always intrigued by the camera that my father used to make pictures. I soon received my own, a Konica pop in 1982. Ever since I have been photographing wherever I go and always carry a camera with me. I try to be aware of my own experiences in life and connect them to my photography in several different projects. Atmosphere and emotions are the most important for me. LOCATION Utrecht THE NETHERLANDS CAMERA/S Fuji X100vi WEBSITE https://www.fanjahubers.nl @FANJAHUBERS FEATURES // A Voyage to Discovery

PICTORIAL STORY FIRE AND FORGE In the crater’s depths, where blue fire flickers and sulfur coats the air, Alexandros Zilos documents the stark reality of mining and its haunting beauty. August 16, 2024 PICTORIAL STORY photography ALEXANDROS ZILOS story ALEXANDROS ZILOS introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In the captivating yet harsh landscape of Mount Ijen in East Java, Indonesia, the lives of sulfur miners reveal a narrative of resilience and determination. Alexandros Zilos, a documentary photographer, videographer, and video editor based in Athens, Greece, engages with this juxtaposition of beauty and hardship. With a camera in hand, Alexandros captures the interaction between man and nature, documenting the spirit of those who labor amidst toxic fumes and treacherous paths. After completing his academic studies in Conservation Biology in Plymouth, United Kingdom, Alexandros began an extensive journey across three continents. Traveling by bicycle, he immersed himself in diverse natural environments and cultures, gaining a deep understanding of the lives and struggles of the people he encountered. Alexandros’s work focuses on environmental issues, human rights, and regional cultural realities. Through his project Sulfur Miners and Tourism at Mount Ijen , Alexandros’s photographs depict the fascinating coexistence of tourism and labor in this volcanic region. Tourism has increased at Mount Ijen, drawing visitors to its sulfur mining operations and landscapes. This increase in visitors affects local communities and the environment, causing potential environmental degradation and disruptions in mining activities. The presence of tourists also influences local economic and cultural dynamics, as communities adjust to the demands and opportunities created by tourism. Alexandros 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. Mount Ijen is a stratovolcano located in East Java, Indonesia. Daily, hordes of tourists ascend its steep slopes to witness the captivating blue flames emanating from sulfur deposits. It is one of the few remaining active sulfur mines in the world. While its surreal landscapes have fascinated scientists and adventurers for over two centuries, in recent years, the miners themselves have emerged as a contentious tourist draw. In the heart of this volcanic wonder, I observed a world where beauty and hardship intersect. Using my camera, I documented the daily struggles of the sulfur miners, their bodies bent under heavy burdens and their spirits tested by the harsh elements. Manually loading sulfur into their baskets, the miners laboriously carry their hefty loads on foot. Among clouds of toxic sulfur dioxide that cause immediate discomfort to their throats and eyes, the miners work tirelessly without adequate protection, with only a few possessing gas masks. As I followed Dharma and his fellow miners on their ascent, I noted the scale of their labor. Carrying baskets and driven by determination, they navigated steep paths and dense jungles, their bodies covered in sweat and grime. Formerly a seasoned miner, Dharma transitioned from working in the crater to becoming a tourism operator, demonstrating the enduring human spirit. He spent years learning English to leave behind the life of a miner and focus on tourism. He recounted to me his three-year stint, making the arduous journey two or three times a day. The mark on his shoulder shows the burdensome baskets used to transport sulfur. Dharma explained that most miners prefer working at night to avoid the daytime heat. Despite their resilience, the miners remain at the mercy of forces beyond their control. Operated by a distant Chinese company, the mine lacks permanent staff and offers low wages and little in the way of protection or support. Miners decide their daily ascents up the 2769-meter volcano. On average, a miner can carry between 60 to 90 kilograms of sulfur at once, with some of the strongest shouldering over 100 kilograms. The miners utilize primitive baskets connected by a yoke. The journey entails carrying the load up to 300 meters along a steep mountain path to the crater's edge. Then, they trek an additional three kilometers through the jungle to the collection point at Pos Paltuding. Each miner earns approximately $5 per trip, typically managing just two trips a day. And yet, it remains one of the highest-paid occupations in the region, a stark reminder of the harsh realities faced by those who call Mount Ijen home. © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos © Alexandros Zilos In concluding this exploration of Mount Ijen, between the environment's beauty and the miners’ arduous labor. Alexandros Zilos’s photographs provides a profound look into the resilience and determination that define the daily lives of these workers. With his background in Conservation Biology and extensive travels, Alexandros brings a unique perspective to his work. His images are more than visual records; they are powerful narratives. These narratives provoke thoughtful discussion on socio-economic dynamics and the preservation of cultural heritage. They prompt us to consider the human and environmental costs of the beauty we often take for granted. They challenge us to think critically about the untold stories and the lives that unfold far from the spotlight. In the end, the sulfur miners of Mount Ijen have left a strong impression on our awareness. Alexandros ensures their stories are seen and heard, a testament to the human spirit and the role of storytelling in bringing attention to less visible aspects of our world. view Alexandros Zilos' portfolio Instagram >>> Facebook >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST Amidst the breathtaking scenery of Norway, Romain Coudrier discovered the allure of rare light and subtle shades, immortalizing each moment in striking black and white with every click of his camera shutter. MUD Dedipya Basak's documentary project explores the struggle of an 800 year old lake against the impacts of global warming, revealing its continued relevance and urgent story in today’s changing climate.

These are a collection of images which I have put together from my last trip before lockdown. I was in India for the festival of Holi. I chose them because they reflect the feel of something magical that the people and places of India inwardly possess. It makes me feel joy. My photography is my escape just unfortunately not my career. I have studied it both practically and academically. I have worked for photographers and others that use imagery to compliment their work, but I have a family so my photography is my companion that just bubbles away beside it all. These images come from a workshop I attended with my mentors. They are my friends fundamentally and two brothers who are phenomenal Indian street photographers - Vineet and Rohit Vohra. My approach has always been towards portraits and documentary and so I am enjoying the details which ‘street’ illustrates and I'm now applying it to my train of thought and process. CATHERINE NAYLOR-LEYLAND These are a collection of images which I have put together from my last trip before lockdown. I was in India for the festival of Holi. I chose them because they reflect the feel of something magical that the people and places of India inwardly possess. It makes me feel joy. My photography is my escape just unfortunately not my career. I have studied it both practically and academically. I have worked for photographers and others that use imagery to compliment their work, but I have a family so my photography is my companion that just bubbles away beside it all. These images come from a workshop I attended with my mentors. They are my friends fundamentally and two brothers who are phenomenal Indian street photographers - Vineet and Rohit Vohra. My approach has always been towards portraits and documentary and so I am enjoying the details which ‘street’ illustrates and I'm now applying it to my train of thought and process. LOCATION UNITED KINGDOM CAMERA/S Canon EOS 2D mark ii WEBSITE http://www.indicacamera.com @CATNAYLORLEYLAND FEATURES // Joy and That Something Magical in India

Photography is my passion. Through the lens the world looks different and I would like to show you this difference. MARILENA FILAITI Photography is my passion. Through the lens the world looks different and I would like to show you this difference. LOCATION Athens GREECE CAMERA/S Nikon D3400, Panasonic Lumix DC Vario, Canon EOS R WEBSITE https://www.marilenafilaiti.com/ @MARILENA_FILAITI FEATURES // Awakening Instincts

BEAUTIFUL GEORGIA Ahmet Hojamyradov's series of Georgian landscapes reminds us of our true smallness in comparison to the overwhelming beauty of nature. BEAUTIFUL GEORGIA July 20, 2020 INTERVIEW PHOTOGRAPHY Ahmet Hojamyradov INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Ahmet Hojamyradov, a young and talented photographer from Minsk, Belarus, has been capturing the breathtaking beauty of nature through his lens for over a year now. Starting off just as a hobby Ahmet experimented with various genres, landscape photography has now become his primary passion. His landscapes remind us of our true smallness in comparison to the overwhelming beauty of nature. Recently, Ahmet has returned to Minsk after a journey through Georgia which has inspired him to share some of his most captivating photographs with us. Through these images, we can explore the mesmerizing landscapes of Georgia, and be reminded of the immense beauty that exists all around the world. Join us as we explore the spectacular work of Ahmet Hojamyradov, a photographer who captures the beauty of nature through his artistic lens. “A year ago, I had a tough time. My friends, Alexey and Valeria motivated me to try photography as a hobby. I have loved it since then.” IN CONVERSATION WITH AHMET HOJAMYRADOV THE PICTORIAL LIST: Ahmet, where do you find your inspiration to photograph? AHMET HOJAMYRADOV: Mostly, I find inspiration in traveling, people and architecture. TPL: Has your style of photographing changed since you first started? AH: Yes, it has! I started with architecture photography. Then it smoothly changed into landscape photography. Nowadays I do landscapes, some astrophotography and a pinch of portraits. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AH: Peter McKinnon, Alen Palander, Kai Böttcher, John Bozinov, Hannes Stier, Gueorgui Pinkhassov and many others. There are a lot of great artists whom I adore. But Peter is the one who influenced the most. I love his approach to shooting and editing his photos and videos TPL: Where is your favourite place to photograph? AH: I love shooting in the mountains and cities. Mostly, I find inspiration in traveling, people and architecture. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? Any tips you have learnt from others? AH: Yes, but not always! How you use your equipment is much more important. If you are new to photography, I would recommend not to get stuck in one style. Experiment with various genres! Sooner or later you will level up your photo game in general. Passion and diligence, I guess . To become a good photographer, it is essential to know everything about your camera. You will spend less time to set up your camera, that you can focus on your shot. TPL: Have you ever been involved in the artistic world before photography? AH: No, I’ve haven't. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AH: In the nearest future, I am planning to do some portrait series. Please, stand by! TPL: If I wasn't photographing what would I be doing?... AH: Probably, I would create music. We want to thank Ahmet for sharing his spectacular photographic works with our viewers and inspire them to take up a new appreciation for the world around us. His eye for capturing stunning views of the Georgian landscape is truly remarkable and we suggest that you check out his Instagram for more of his photography. VIEW AHMET'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.

So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. JELISA PETERSON So many of the images of Africans we see in first world settings are based on negative stereotypes of people devastated by poverty, disease and war; showing people who come from a place that is wild and dangerous. This results in a very distorted vision of an entire continent of people with diverse lives and circumstances. I believe that these characterizations tend to limit our understanding of the very humanity of African people. With my work from Mozambique, I want to resist these one dimensional characterizations to express what I see and have experienced over the years. It is the Mozambicans themselves who are my inspiration to create photography to be shared as widely as I am able. There is nothing more motivating to me than starting my day before the sun rises to walk, to meet and talk with people and observe them in their natural environments doing their daily activities. What is always remarkable to me as the day passes is not the invalidating distortions of actual lives but the tenderness, the curiosity and the beauty of the people. My desire as an artist is to challenge the viewer to be more conscious of what they see and conclude when they consume images of Africans, like Mozambicans. My images advance a more positive and sensitive vision of people who are worthy of more insightful representation. LOCATION Texas UNITED STATES CAMERA/S Canon Eos Rebel and Canon Eos 50D WEBSITE https://jelisapeterson.com/ @JELISAPETERSON FEATURES // Into Africa

NEW NORMAL The principal motivation behind Adesh Gaur's images are the focus on humanist issues combined with his strong visual storytelling. NEW NORMAL November 30, 2020 INTERVIEW PHOTOGRAPHY Adesh Gaur INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Photography is a visual art form that captures moments and emotions, freezing them in time and space. It is an incredibly powerful medium to tell stories and evoke emotions. Now, more than ever, we have a desire to look at the world and the people around us differently. Enter Adesh Gaur, an award-winning photographer based in Uttar Pradesh, India. Adesh has developed a passion for photography since 2018, turning it into his full-time career. His focus lies on telling humanist stories while delivering powerful visual storytelling through documentary and fine art photography. His images capture the nuances of life and its complexities, as seen through his lens. Adesh's objective is to capture moments in time, highlighting the beauty and poignancy of everyday life. Through his photographs he wants to portray a powerful narrative about the places and people he encounters on his journey. To him, photography isn't just about taking pictures but also about capturing stories and emotions that will hopefully evoke empathy and understanding in viewers. “As we all know, the whole world is struggling with Coronavirus. It’s very difficult to live in a middle-class family. In this collection, I want to state and show you how the middle-class people live and work, despite all their troubles. Because of Coronavirus, these laborers had to go back to their own homes. I documented this series in Kanpur Cement Warehouse, in India, post Lockdown.” IN CONVERSATION WITH ADESH GAUR THE PICTORIAL LIST: Adesh, where do you find your inspiration to photograph? ADESH GAUR: I am inspired by many and everywhere. TPL: Is there anything you want to express through your photography? AG: As we all know there's a story behind every picture and I love to share stories through my lens. The places attract me much where a good story can be made and sometimes I love to take portraits of those people whose eyes have a different shine from others. TPL: Do you prefer to photograph alone or with friends? AG: I shoot most often with friends, sometimes it's good if you are a beginner to learn from others. But I also love to shoot alone so I can focus. TPL: Who are your favourite artists and photographers? AG: Steve McCurry, Alan Schaller, Daniel Milnor, Raghu Rai and Raghubir Singh. Photography, to me, is the dewdrop that reflects my inner and outer worlds simultaneously. - Raghubir Singh TPL: Where is your favourite place to photograph? AG: Everywhere I can get a good documentary photo. TPL: How does the equipment you use help you in achieving your vision in your photography? AG: It's all about observation, but camera also matters. I love to shoot with my Canon camera. When I shoot portraits I love to use prime lenses and for wide shots I use 18-55mm lenses. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AG: Yes it is about migrants labour. But because of the Coronavirus I haven't been able to get out of the house for the six months, but as soon as things return to normal, I'll get back and get better stories. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AG: My goal is to become a photojournalist. In the coming five years I see myself as a better photographer who will be moving forward with many achievements. TPL: “When I am not out photographing, I (like to)… AG: Read, watch documentaries and travel.” The principal motivation behind Adesh Gaur's images are the focus on humanist issues combined with his strong visual storytelling. Follow his connections he makes in his community by following his journey on Instagram. VIEW ADESH'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 RHYTHM SHE SEES Karen Ghostlaw Pomarico is a visual storyteller who explores a unique vision of the world. She shares her photographs from her series MUSIC STORY. THE RHYTHM SHE SEES March 1, 2021 INTERVIEW PHOTOGRAPHY Karen Ghostlaw Pomarico INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link When taking in the vibrant atmosphere of New Orleans, it's hard not to be in awe of the city's unique culture and its wild inhabitants. New York photographer Karen Ghostlaw Pomarico has dedicated her life to capturing the true essence of the city, and her series MUSIC STORY is a vivid example of her creative vision. In this series, Karen takes us to Maple Leaf Bar, a club tucked away in Pigeon Town, where the soulful sounds of the Rebirth Brass Band echo throughout the neighborhood. Through her lens, we see the energy and passion of the Oak Street neighbors as they fire up the smokers in the street and set up buffet tables in their front yards, all to welcome those who come to listen to the music. There's no denying that Karen is a visual storyteller, and through her photographs, she encourages us to see the world in a unique way and engage in thoughtful discussion. Join us as we explore Karen's photography and discover a side of New Orleans that you won't find anywhere else. “When you think of New Orleans you visualize food, music and a love for art. Arriving in New Orleans I relished in meeting these unique people and their passion for celebrating life. Recommendations abound in this town, but one made me curious, a club that was not to miss for music, off the beaten path, where I would find the real music of New Orleans, the Maple Leaf Bar. In Pigeon Town, a little neighborhood three blocks from the Mississippi River, the Oak Street neighbors of the bar were setting up buffet tables in their front yards, while smokers were being fired up in the street, welcoming all whom arrived. Headlining was the Rebirth Brass Band, everyone there seemed totally pumped as the bar filled waiting for the band to play late into the night. Obviously not a regular, camera in hand, I made my way to the front of the crowd and stage. The crowd guided me to front row center, welcoming my passing them.” IN CONVERSATION WITH KAREN GHOSTLAW POMARICO THE PICTORIAL LIST: Thank you Karen for sharing your series of photographs called MUSIC STORY with us. Tell our readers what was the inspiration for the series? KAREN GHOSTLAW POMARICO: I believe that to be a good photographer it is important to study all the arts. When taking a photograph, I see many different influences and pieces of a puzzle. When the pieces fall together, the shutter is released. I see architecture, geometry, light, color, space, volume, movement, dance, gesture, personality, and humanity, all presented to me through an aperture, in a box. I study dance, I learn physicality and gesture in movement and the stories they tell. When I am in the street shooting or when I was shooting the Rebirth Brass Band, I understood their hand and body movements and how I wished to capture them. Music for me is about the rhythm I see in the World. I think of Steve Reich and his “Music for 18 Musicians”, each instrument having its own rhythm, moving in and out of unison. As I take my photo, all of the chaos becomes synchronized and everything fits, light, shadow, the band on the stage. I’ve found my moment, when I physically feel part of what I am photographing. I don’t need to think about releasing my shutter, it just happens, all is right, my camera and I are one, I am part of the process, thoughtless. TPL: Karen please tell us about yourself. Can you tell us when you first became interested in photography? KGP: I was born and grew up in Poughkeepsie New York, in the lower Hudson Valley. I became interested in art before I knew I would become a photographer. While in High School I had the fortunate experience of being guided by my then teacher, and subsequent lifetime dear friend, Maggie Caccamo. Maggie exposed me to numerous mediums and processes, understanding it was process that inspired my creative thought. She exposed me to mediums such as drawing, painting, pastels, batik, quilting, trapunto, jewelry, metal work, welding, woodwork, linoleum and die cuts, silk screening, sculpture, and many more techniques throughout the years. She helped me seek out universities when applying to college, and stood by me through my application process. Being a Pratt Institute graduate herself I decided among the acceptance applications that Pratt would be the school for me. In my freshman year during the Foundation Program at Pratt Institute that I found interest in photography. I was always disappointed in my ability to paint and draw, and realized that in photography and printmaking I was able to transcribe what my minds eye conceptualized, translating it into reality with these mediums. Pratt brought me great opportunity and exposed me to influential educators, one of whom was William Gedney, who inspired me to find myself and my creative expression through the many photographic technologies at his disposal. Studio work, black and white, 4x5, platinum palladium, and non-silver processes were integrated into my processes. Bill also taught me how to make hand bound books, to display my work in, both photographic and written. He was as process driven as I was, and the connection between us was fuel that fed my fire. There was no turning back for me, the camera became my tool to create, making my imagination reality. TPL: In general, where do you find your inspiration for your photography? KGP: Absolutely anywhere and everywhere. I find some photographers specialize in certain areas of photography; portrait, wedding, street. I am a visual storyteller, I approach all my subject matter the same way looking for those connections and details, so I can tell specific stories. I don’t change what I see, rather, I express through the lens what the stories are telling. I love to explore the same places over and over, looking for new stories to tell, forcing myself to look even harder each time. I also find it exhilarating to photograph something I have never photographed before, learning new things and applying them to my work. I find street photography, nature and abstract photography to be places of constant inspiration, and I access them daily. TPL: Do you have a favorite quote, lyric or saying that especially resonates with you? KGP: I find it is not usually photographers that come to mind when I think of what resonates with me, rather it is painters. Two painters come to mind who have said things I relate to. Picasso said, “Everything you imagine is real”, and my favorite Dali quote, “There is only one difference between a madman and me. The madman thinks he is sane. I know I am mad.” My interpretation, rules are meant to be broken. I choose to express myself by breaking the rules of photography, expressing myself in different ways, finding my place between painting and photography. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? KGP: This is a fever for me. Favorite artists are a list so long, a few, William Gedney, Lee Frielander, Garry Winogrand, Danny Lyon, Diane Arbus, Eugene Atget, Henri Cartier Bresson, Vivian Maier, Cindy Sherman, and I could name so many more, and that is only photographers. Painters such as Van Gogh, Picasso, Monet, Rothko, Miro, Matisse, to name a few. Sculptors, Giacometti, Brancusi, Noguchi, Richard Serra, Mark di Suvero, Andy Goldsworthy, Dance Companies, Pina Bausch, Bryn Cohn and Artists. For Music, Ella Fitzgerald, Louis Armstrong, Miles Davis, Mulatu Astatke, Nina Simone, Philip Glass, Steve Reich. I really enjoy all art, and find it inspirational. A walk through any gallery, and I find something that makes me think, makes me grow as an artist. My style influencers, the abstract expressionists and impressionists. Often, when I am in nature, I think of Van Gogh, texture and sculptural aspect of the landscape painted with a pallet knife, one example of an influence of on the expression of what I see through my lens. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? KGP: I want to express that things are what you make of them. I want the viewer to participate in the story, engage them to think about what they are seeing. To question is good, and to draw one's own conclusions even better. I usually shoot with my lens wide open, with as little depth of field as possible. This allows for a focal point even in an abstraction. I do not visualize clarity in my life, it is not how I see my world. What you see in my finished work, is exactly how I saw it in my minds eye through the lens. I do not Photoshop my images, they are all single exposures. I choose to express myself by breaking the rules of photography, expressing myself in different ways, finding my place between painting and photography. TPL: What is it that you enjoy about street photography. What happens when you walk the streets with your camera? Explain your technique? Have you ever had a negative encounter? What draws me to street photography is the unpredictability from one second to the next. There is a different story to be told each and every time I walk the same street. Street photography engages all the senses, noises, smells, visuals of light, shadow, color, and the taste for adventure. When I walk the streets, no matter what city in the world, I try to first find my light, my ISO, and general aperture and speed settings. I become very focused, I look everywhere, listen to sounds that may direct me, smells that may lead me in a certain direction. I always with my camera in hand, ready for anything that catches my attention. I specifically look for details, that are unique, maybe out of place, or considered to be not of much interest, so ordinary. But I see the extraordinary in the ordinary, and find these abstractions to inspire. I am obsessed with reflectivity of all kinds, and the city has so many reflective surfaces challenging me to learn new ways of seeing and recording what I see. I enjoy a street empty of people, as much as I enjoy them full and chaotic. I engage someone that catches my eye, most the time I make eye contact a may gesture for approval, but sometimes anonymity is preferred. I try to feel the energy in those moments, and I try to feel like I am part of that energy and go with the flow. When in sync it is a feeling that is hard to describe, it is bigger than just you, an awareness that creates connectivity and an inspired clear vision. Recently while shooting in London I had a negative encounter, the first time in a very long time. I was walking down a high street when I saw two young men popping wheelies in the middle of the road in traffic. I reached for my camera, pulled it to my eye and turned the camera on. One of the two young men saw me and started cursing at me in a very loud and disrespectful way. Angry that I apparently snapped his photo, he rode on. The interesting part, I never got one shot off, the camera never turned on in time. I apologized to the young man despite not having taken his photo simply because I violated his personal space. TPL: Do you have any favorite locations to go photographing? How has the pandemic affected you and your photography? KGP: I adore photographing in any city, New York City it is a constant inspiration. The moment I hit the street it is like a fever that takes over me. Can’t wait, and usually don’t, to engage my camera and the urbanism. I love to see architecture and art, but I am also just as happy taking a stroll down the lower east side of Manhattan. I feel very fortunate to live in New York State. I am a Libra and it balances my scale. A few hours north of the city you can be in the Adirondack Mountains and the high peaks that are home to unique flora as well as animals. These mountains created by glaciers are the yin to my New Your City yang. My father’s family is from a small town in Northern New York State very close to the Canadian border. I spent my entire youth swimming, skiing, hiking, camping, in this wilderness. During the Pandemic, I isolated in the Adirondacks. My study of the natural world their has influenced the way I see the industrial city landscape. It has helped me find order the the chaos in the metropolis. Prior to the pandemic I spent much time traveling and photographing urban environments. It had brought my work in a new direction and was a fascinating and supportive venue for my continued study in self portraiture. I was photographing Pride Night at Madison Square Garden in New York City for the New York Gay Hockey Association 48 hours before New York City Lockdown. After the lockdown, I isolated with my family from February through April in the Adirondack Mountain wilderness, where my connection to nature was reawakened. While in isolation, I revisited a study called “Between Painting and Photography” and explored the isolating landscapes and reflections of the mountain estuaries. I created a beautiful body of work, featuring reflected abstracted landscapes. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera/s do you use? Do you have a preferred lens/focal length? KGP: I have one camera and one lens. I am never without them. I use a Leica, I currently have a Leica M10-P, with a Summicron ASPH 35mm. It fits me like a glove and is an extension of mind and body. It has the capabilities of articulating my abstractions, and is my partner in seeing the extraordinary in the ordinary. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? KGP: My primary goal as an artist and photographer is to share my work. It is a glorious act to create and I am involved in my work in some way every day of the week. Like a musician playing the scales, I need to photograph or edit every day. But to create and not share is working in a vacuum. As my children have all graduated and moved on, I am no longer a home educator and have the ability to focus on stepping out and engaging platforms and communities to support my work. I see myself immersed in my work and utilizing all outlets available to share and achieve my goal. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? KGP: I have begun a hand bound book of platinum palladium prints made from negatives taken from a nude figure class with Bill Gedney in the 1980’s, taken on the rooftop of the painting studios at Pratt Institute. This project is in its formative stages but I am looking forward to bringing it to completion. I have also conceptualized a mixed media installation piece, weaving together life size photographs printed on various materials and woven together with actual artifacts of objects seen in the images. I see this project as a natural progression to explore my roots of non-silver printing processes and my love for the different mediums I have engaged with throughout my life. I have been studying self portraiture and reflectivity for over 12 years and believe the layers and abstractions found in the urban landscape would be a wonderful foundation for this project. I am actively working to establish connectivity and a communities to share this work with. TPL: When I am not out photographing, I (like to)... KGP: I love to do everything, but I am rarely found without my camera. I have an abundance of energy and physical activity is a must for me. I do yoga daily as well as hike, swim, ski. I also need to see art, so I have memberships to most museums in NYC and throughout New York State. Before the Pandemic I would attend concerts, dance, and opera on a regular basis. I also traveled extensively throughout North America, South America and Europe. I adore food, to cook and eat it, so you will often find me in the kitchen or eating at a favorite restaurant with a nice bottle of wine. I love a four hour dinner. I enjoy people, a conversation, and new connections made. I am a sponge absorbing and photographing everything around me. As a visual storyteller, Karen explores a unique vision of the world through her artistic expressions. It is without a doubt, The Pictorial List would not be possible without the work Karen does as Editor. We are truly honored to have her on the team. Connect with Karen and join her on her pictorial journey. VIEW KAREN'S PORTFOLIO Rebirth Brass Band Karen's website >>> Karen'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.

I am a 1984 honors graduate of Pratt Institute. I majored in Photography, with minors in Print Making and Book Binding. I was a Photography Scholarship recipient and published in Newsweek On Campus. At Pratt Institute I studied with William Gedney, Philip Perkis, Arthur Freed, Nina Prantis and Ann Mandelbaum. This established cast of educators challenging me to think differently, to find my vision and voice through photography. I studied 35mm and 4x5 large format photography. I have printed in Black and White, Color, while additionally working with processes including Gum Bichromate, Platinum Palladium and Dye Transfer. I have created my own emulsions on a myriad of different archival papers then contact printed from large negatives. I honed my printmaking skills in etching and silk screening to include photo etching and photo silk screening. William Gedney taught me the art of Bookbinding, handcrafting books with archival materials utilizing my photography and developing my visual storytelling skills. Today I continue my work as a visual storyteller, creating series of photographs that engage details and abstractions which explore a unique vision of the world around me. KAREN GHOSTLAW POMARICO I am a 1984 honors graduate of Pratt Institute. I majored in Photography, with minors in Print Making and Book Binding. I was a Photography Scholarship recipient and published in Newsweek On Campus. At Pratt Institute I studied with William Gedney, Philip Perkis, Arthur Freed, Nina Prantis and Ann Mandelbaum. This established cast of educators challenging me to think differently, to find my vision and voice through photography. I studied 35mm and 4x5 large format photography. I have printed in Black and White, Color, while additionally working with processes including Gum Bichromate, Platinum Palladium and Dye Transfer. I have created my own emulsions on a myriad of different archival papers then contact printed from large negatives. I honed my printmaking skills in etching and silk screening to include photo etching and photo silk screening. William Gedney taught me the art of Bookbinding, handcrafting books with archival materials utilizing my photography and developing my visual storytelling skills. Today I continue my work as a visual storyteller, creating series of photographs that engage details and abstractions which explore a unique vision of the world around me. LOCATION New York USA CAMERA/S Leica M240 WEBSITE http://www.karenghostlaw.com @KAREN.GHOSTLAW FEATURES // The Rhythm She Sees Wonderland

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. 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. October 5, 2025 INTERVIEW PHOTOGRAPHY Rivka Shifman Katvan INTERVIEW Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link With eyes that listen and a heart that sees, Rivka Shifman Katvan moves through the world noticing what most overlook. Her focus goes beyond mere observation, finely tuned to the subtle truths that emerge in the spaces between moments. Her camera carefully listens to her subjects, scanning the room for visual narratives that reveal the authenticity of the experience. The shutter is released when she becomes attuned to the delicate interplay of emotion and energy unfolding around her. Rivka has mastered the ability to capture the hushed whispers and sacred intimacy of a Broadway dressing room without disturbing its delicate balance, whether in moments of calm or in the energy and movement that fill the space behind the scenes. For decades, she has slipped behind curtains, both literal and emotional, quietly witnessing moments of transformation. Not posed or performed, but naturally unfolding. “I became like a fly on the wall,” she once reflected about her early backstage days, “walking on tiptoes, learning how to be discreet in other people’s private spaces.” There is a remarkable gentleness in her approach combined with a profound presence. This blend of quiet curiosity and unwavering attention has become her unmistakable signature. What gives Rivka’s photography its quiet power is that it never demands attention. It reflects a presence that waits, observes, and belongs without needing to announce itself. She doesn’t insert herself into the frame. She listens, she waits, and in time her presence becomes part of the atmosphere, unnoticed, but essential. That’s when something honest appears. A weary actor meeting their own gaze in the mirror. A dress being fastened with deliberate tenderness. A brief glance shared just before the lights go up. These are the moments she catches. And somehow, without ever breaking the stillness, she lets us feel as if we were standing there too. In a world that so often confuses volume with presence, her images remind us that the most lasting stories are told in whispers. Rivka’s eye is compassionate, steady, honest, and quietly insistent. That rare combination opened doors to places most photographers never see. For years, she was a constant presence behind the scenes of Broadway and the Tony Awards, not just as a fine-art photographer, but often the only one there. Even more remarkably, she was one of the very few women documenting those private, high-pressure moments. She didn’t force her way in. She was invited. And once inside, she made herself small enough to disappear, allowing others the space to truly reveal themselves. Her presence carried a quiet authority. “It taught me how to put people at ease and gain their trust,” she says. And you can feel that trust in her images. There’s no posturing, no performance. Just people in transition: between characters, between emotions, between selves. Over time, her body of work has earned recognition from major institutions like MoMA, the Victoria and Albert Museum, and the International Center of Photography. But her true legacy lies in the intimacy of the moments she’s preserved. When you look at Rivka’s photographs, you don’t just witness a moment. You become a silent witness to something deeply intimate. You step into an unspoken narrative. Whether she’s capturing Elizabeth Taylor collecting herself before making a storm of an entrance in The Little Foxes, or catching a quiet breath shared by ensemble cast members just offstage, Rivka transforms still images into emotional time machines. It’s not just her camera that creates this effect but her ability to see, looking with both critical precision and creative intuition. Her process blends instinct and intellect. She watches carefully, waits quietly, and frames what others might overlook. The result is not simply a record of events but a distillation of feeling, with each image offering a glimpse into the emotional truth of a fleeting moment. Her book Backstage: Broadway Behind the Curtain (Abrams, 2001) is exactly what its title promises. It is a lyrical archive of hidden theater history, rich with atmosphere, emotion, and the fleeting beauty that disappears the moment the spotlight shines. These are not just glimpses from the wings, they are quiet portraits of transformation and humanity. We see actors in moments of reflection, crews at work, and the subtle pauses that come just before a performance. In the end, it is not the subject that drives her. It is something deeper. A restless sense of curiosity. A strong trust in intuition. A constant desire to see the world with fresh eyes, never dulled by repetition or routine. She moves through the world with the same attention she brings to her work. Focused, thoughtful, and completely present. This interview is not only a look into Rivka Shifman Katvan’s photography. It is also an invitation to see as she sees. With clarity, generosity, courage, and care. “I never allowed my theater work to define me as an artist. I carry my camera everywhere, capturing vignettes and moments that speak to me.” IN CONVERSATION WITH RIVKA SHIFMAN KATVAN TPL: You have described your early backstage work as becoming “like a fly on the wall.” How did you develop that sense of discretion in such high-pressure environments, where nerves, egos, and performance energy run high? RIVKA: When I first came backstage, I could immediately feel the pressure, the energy, the stress — it was all around me. At the beginning, I didn’t direct anyone or use flash. I simply observed and made myself invisible. I didn’t ask anyone to pose. I walked quietly, “like a fly on the wall.” Eventually, people forgot I was even there — and that’s when I could truly capture the real, unfiltered moments. TPL: Many of the moments you capture are deeply personal and often unguarded. How did you develop the discretion needed to move through such high-stakes environments — like Broadway dressing rooms — without disrupting the energy? And more importantly, how did you build the kind of trust that made people welcome your presence, rather than want to swat that “fly on the wall” away? RIVKA: By respecting them — and their space. I never imposed myself. After a few visits, people started feeling safe around me, and that trust grew naturally. Every time I returned, I would bring prints from the previous shoots and give them as gifts. They loved that. Trust happens when people feel they’re not being judged. It’s about creating safety. TPL: Looking back to your 1979 thesis at the School of Visual Arts — did you ever imagine it would blossom into such a long and defining relationship with theater? Or did you always see it as a starting point for something larger? What advice would you give to seniors at SVA today? RIVKA: No, I never imagined it would lead to so many years backstage. I simply followed what I loved. I was curious — and I kept going. One professor gave me advice that I followed: “Go out and shoot at least two rolls of film a week.” I would pass that advice on to students today — even in the digital age. Go out, shoot, and shoot again. Something magical will happen. Follow your heart, let your curiosity lead the way, and your work will grow. One day you’ll look back and realize you’ve created a body of work. TPL: You’ve spent years photographing some of the most iconic actors and artists of our time, yet you’ve said you don’t let “well-known images define you.” How do you keep your voice distinct when photographing both the celebrated and the anonymous? RIVKA: What interests me is the human being — not the celebrity. I always look for the person behind the image. That’s especially true in my Backstage project. I’m not chasing fame — I’m looking for authenticity. TPL: There’s a strong thread of surrealism in many of your street and reflection series — especially the mannequins and window reflections. Do you see these images as narrative or abstract? And what draws you to that border between real and imagined? RIVKA: I’ve been photographing reflections since I was a student at SVA. For me, these images are both abstract and narrative. The way mannequins merge with NYC buildings creates its own story — and over time, they also reflect the transformation of the city itself. I work in black and white for this series because it strips away distraction and focuses the image. I don’t digitally manipulate the photos — I use Photoshop the way I would use a darkroom: just dodging and burning to bring out the best in the image. TPL: You have spent much of your career working in environments that have historically been shaped and controlled by men, from the backstage worlds of Broadway to moments of raw emotional openness that are rarely documented with such sensitivity. Do you feel that your gender influenced how you were perceived or the access you were given? And how have you navigated or shifted those dynamics over time? How have you helped to change those old narratives? RIVKA: No, I don’t think my gender played a role. What mattered most was respect. I respected the people and their space, and over time that created real connection. When I’m backstage, I feel the excitement and energy of the actors, and that energy flows into my creativity. TPL: Do you see any parallels between your creative process and performance art? Do you feel in the moment you become part of the fabric of the performance itself? RIVKA: Yes, definitely. When I’m backstage, I feel the excitement and energy of the actors, and that energy flows into my creativity. I may not be on stage, but I’m very much a part of what’s happening. TPL: What do you wish more people understood about the backstage world? Is there a myth you’d love to dispel or a truth you wish was better known? RIVKA: Some people imagine backstage is all glamour. But it’s actually a high-pressure environment that demands incredible energy and focus from the actors. It’s real work — intense, emotional, and vulnerable. TPL: Your collaboration with your husband Moshe on the Artist Portrait series is a different kind of intimacy — artistic and relational. How does working with someone so close to you shift or deepen your creative process? RIVKA: Working with Moshe is very special. We have different styles, but we understand each other deeply. He helps me see things I might miss, and I do the same for him. There’s a strong mutual trust, and that kind of support makes a big difference in the work we do together. TPL: Your series Bare Exposures brings together images some audiences may recognize alongside others never before publicly shown. What inspired you to present this collection now, and what meaning or feeling do you hope it conveys to viewers? RIVKA: This series is part of a fundraising project for Broadway Cares/Equity Fights AIDS. The actors volunteered to be part of it — they chose to share their presence and their bodies for something meaningful. That touches me deeply. It feels like a big family coming together for a cause, and I’m honored to be part of that. I donate photographs to the auction each year because I believe in the work they do. The actors are proud to be involved, and I hope viewers can feel their strength and generosity. TPL: The title Bare Exposures suggests both physical and emotional vulnerability. Without giving too much away, can you talk about what you were exploring thematically in this work? RIVKA: I was exploring openness — not just physical, but emotional. These are actors, but in this project, they’re not performing. They’re simply showing up as themselves. There’s a quiet strength in that kind of vulnerability. It’s simple, but powerful. TPL: After decades of work across themes, genres, and geographies, what still surprises you when you raise the camera? What keeps you inspired — not just to shoot, but to see? RIVKA: I’m still surprised by small moments. A glance, a gesture, a flicker of emotion — those things never get old. What keeps me inspired is curiosity and trusting my instincts. As long as I stay open, the work keeps evolving. To witness the work of Rivka Shifman Katvan is to be invited behind the curtain. But her camera doesn’t just reveal; it respects. With Bare Exposures, Rivka returns to the theatrical world that first ignited her career, not as a nostalgic revisitation, but as a bold act of revelation. She writes of how this backstage universe taught her to be “discreet in other people's private spaces,” a skill that allowed her to capture not just the drama of performance, but the delicate, often unseen moments of emotional and physical transformation. Her camera became a confidante, her presence a quiet collaborator. Bare Exposure is a study and project born of trust, observation, and deep reverence for the private rituals of performance. In these images, actors prepare not for applause, but for metamorphosis. We see them suspended in states of becoming. In this rare body of work, intimacy and theatricality coexist, and vulnerability is given room to breathe. Like a chameleon, she easily adapts and changes, blending into her surroundings so fully that her presence never disrupts the authenticity of the moment. But Bare Exposures is only one dimension of a storied career that spans more than four decades. Rivka’s photographs have been exhibited in some of the most prestigious institutions in the world — including the Museum of the City of New York, the Museum of Television and Radio, the International Center of Photography, the Victoria & Albert Museum, and MoMA. Her images have appeared in The New York Times, The Guardian, Harper’s Bazaar, Blind Magazine, and beyond. She has received awards from the International Photography Awards and B&W Magazine, and her work has been collected by both public and private institutions, including the permanent collections of the NYC Historical Museum and the Museum of the City of New York. And while her backstage photography is iconic, she has never allowed it to define her. Rivka’s artistic reach extends from the raw energy of Cus D’Amato’s boxing gym to the lyrical abstractions of window reflections, from street photography in New York to collaborations with inmates at Sing Sing. Her visual stories move across different worlds, yet each one is shaped by the same quiet truth. They are as expansive as they are intimate, guided by the belief that “my heart and my eyes are interchangeable.” Bare Exposures invites us into a space of quiet change. Rivka’s photographs do not simply document, they reflect moments when people shift, grow, and reveal something true. In her work, we are reminded that transformation is not always loud. Sometimes it happens in a glance, a breath, or a pause. And in those subtle moments, Rivka is fully present, recognizing what matters before it disappears. To view Rivka’s Bare Exposures series, click on her portfolio below. VIEW RIVKA'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.

DE-SIDERA The clocks have stopped and time waits outside. Gabriele Gentile travels across Italy capturing the beauty of ancient buildings in decay. DE-SIDERA February 4, 2022 INTERVIEW PHOTOGRAPHY Gabriele Gentile INTERVIEW Melanie Meggs SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link In a world of ever-evolving technology, it can be easy to forget that the power of photography is rooted in the ability to capture moments in time and immortalize them for generations to come. It's a special art form, but one that takes skill and dedication to perfect. This is especially true for photographer Gabriele Gentile, whose work focuses on the time-stopping nostalgia of decaying structures across Italy. Gabriele was born and raised in Parma and studied the humanities and communication fields, but it wasn't until his thirties that he got into digital photography. Immediately captivated by the potential of the art form, Gabriele has since devoted himself to capturing and preserving the beauty of these sites from the past, focusing on the history and charm they exude. In his project DE-SIDERA, Gabriele has sought to showcase the remarkable range of structures that time has left behind, including villas, palaces, castles, theaters and hotels. He has been driven by a passion to replicate the timeless beauty of these places through photography, with a sense of nostalgic reverence for their former glory. Gabriele's photos give viewers a glimpse of a bygone era and the beauty of decay. Each image invites us to pause and ponder all that has come before us, while also inspiring us to appreciate the present moment. Through his stunning photographs, Gabriele brings together the past and present, reminding us of the power of photography as an art form that captures and preserves moments in time. “I have been hunting for these places since six years ago, traveling all around Italy looking for abandoned beauty, to be able to eternalize it with my photographs. Waking up in the middle of the night, kilometres of Italy between deserted highways and narrow streets of small villages, intricate woods and wild gardens to cross. But when you are inside every effort disappears: you look up and that beauty, illuminated by the sunrise, it envelops and pervades you, with the taste of dust and background of silence. It's just you and her, the great abandoned beauty. The clocks have stopped and time waits outside.” IN CONVERSATION WITH GABRIELE GENTILE THE PICTORIAL LIST: Gabriele please tell us about your project DE-SIDERA? What does the title mean and where does it come from? What was the inspiration behind your project and when did it begin? Is it an ongoing project? GABRIELE GENTILE: 'De-sidera' is undoubtedly my most substantial project, both in terms of the number of shots and the time and energy devoted to it. In fact, my approach in a serious way to the photography I mentioned above substantially coincides with the beginning of this project, a project that I continue to carry out today, although I try not to divert attention from other ideas and photographic genres that are a part of me. heart. Abandoned places fascinate me since I was a child, after all they represent ancestrally the unknown to be (re)discovered, a limit to be overcome, and their most magnificent part, which is the one I am looking for specifically, satisfies the aesthetic sense that is at the basis of my idea of photography. The term de-sidera comes from Latin (language studied in my classical path) and literally means "lack of stars". It immediately seemed like a perfect intuition as the title of this project, for various reasons: it indicates a desire in the sense of lack, nostalgia, and the nostalgic side of these photographs, as well as of my character, is very accentuated, as is the strong my desire to enter these places and discover the beauty hidden inside. Furthermore, by photographing for my precise stylistic choice only the interiors of these buildings and never their external appearance, the lack of stars also becomes literal, although metaphorically the stars continue to shine in the decadent beauty of these places. TPL: How did you become interested in photography? GG: I approached photography progressively, initially thanks to new technologies, then I became more and more passionate about photographing, excited by the power of photography to fix a moment, making it eternal. From there, about six years ago, I started to deepen it in a serious way and with adequate equipment. TPL: Talk to us about your photography. What is it that inspires you to be a visual storyteller? How have your captures changed the way you see? GG: In reality my shots have not changed my way of seeing, simply my way of seeing has been translated into my shots. I notice that I have like a little camera built into my eyes, and I think that's my gift. Maybe I don't pay too much attention to a wonderful rainbow in a pleasant landscape but I always manage to grasp that detail, that cutout that interests my story. Beyond any vision, I don't photograph what I see but simply what I think. So ultimately for me to be a photographer is to express myself through images. TPL: Do you ever get burnt out creatively? Explain how you keep the creative energy flowing. GG: Consistency is definitely not my merit! After all, I think that creativity is not a talent that can be constantly active, it is like a fire, sometimes it goes out but if you continue to keep the embers warm under it it will rekindle. This long period of the pandemic (perhaps not only for objective limitations but precisely at the level of creativity) was not easy from my point of view, but I try to keep the flame always burning, even continuing to stimulate myself through various forms of art. A painting exhibition, a film, a book, even the verse of a song can give birth to something. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GG: I am perhaps more attentive to past artists than to purely contemporary ones. In addition to all the expressionist current in the field of painting, if I had to name two names in the photographic field I would certainly say Franco Fontana and Luigi Ghirri. I fell in love with Franco Fontana at first sight seeing an exhibition of him in Tuscany. His use of color, rendered not as a complement but as a photographic subject, is just what I hear and see too, so admiring and knowing his production was like feeling understood! Of course, “De-sidera” of all my projects is the one where the use of color catches the eye less, but it's still important. I could not imagine black and white photographs of my abandoned places for example. Luigi Ghirri is another great Italian photographer of international fame and his use of space, also and above all of negative space, is pure poetry for me, and the same feeling I felt for Fontana about color is valid. What do you have against nostalgia? It is the only entertainment that is given to those who are wary of the future. - Paolo Sorrentino TPL: If you could choose just one photographer to shoot alongside for a day...who would you choose? And why? GG: Surely Franco Fontana, beyond the purely technical aspect of photography (which for me, as for him, is certainly not the most important) would undoubtedly be a great human and philosophical enrichment, as well as fun! TPL: What are some tips or advice you would give yourself if you started photography all over again? GG: Many photographers even of the highest quality are self-taught, so this is not necessarily a bad thing. However, if I could start again today I would do specifically photographic studies. 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? GG: Going back to the above, for me photographic equipment is nothing more than a means. So I simply try to be equipped with the means that I believe are most suitable for what I want to do and transmit, without being a slave to them. In this case I started photographing with Fujifilm and finding myself well I have remained faithful to the Fuji system until today. In reality, if I had to choose a preferred focal length, it would be those close to the angle of view of the human eye (for example a 50 mm) or even a telephoto lens for my more abstract and minimal visions. I don't particularly like wide-angles as a rendering but it is obvious that in this project that falls within the field of architectural interiors I had to resort to them right away. However, I try not to abuse it when possible for the environment in which I find myself and for the shot I want to produce, thus preferring the use of wide angles in their less thrust version. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GG: I'll answer you with a quote that I love from one of my favorite films, “La Grande Bellezza” by Paolo Sorrentino: “What do you have against nostalgia? It is the only entertainment that is given to those who are wary of the future.” Beyond the joke, I don't like looking too far ahead. I would like to continue this specific path to discover new abandoned places to immortalize and show to people, cultivate and deepen the humanistic and photographic themes that fascinate me most, and the dream is to be able to insert myself in the environment of the art galleries. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? GG: I won't tell you too much because everything is in an embryonic phase, but I'm working on the theme of the environment, even in its relationship of encounter/confrontation with man. Obviously always developed with my point of view and my language. TPL: When I am not out photographing, I (like to)… GG: What can an Italian do? Go to the stadium! Apart from this Italian vice, I am a great fan of electronic music (especially Trance), we hope that the pandemic can gradually subside and make us return to our passions with carefree. Gabriele's project has highlighted the timeless beauty of structures left behind by time. By capturing these places in all of their former glory, Gabriele has been able to evoke a sense of nostalgia and appreciation for the history that came before us. His work demonstrates the power of photography as an art form that can capture and preserve moments, connecting us to the past and allowing us to appreciate the present. VIEW GABRIELE'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.