AFTER DARK Changes in her life caused Jules to have an emotional connection to the world around her, noticing how the ordinary can be extraordinary. AFTER DARK May 31, 2020 INTERVIEW PHOTOGRAPHY Jules Carr INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Jules Carr has always had an interest in photography, but it was only a couple of years ago that her interest was ignited into something much more intense. After experiencing a life changing event, Jules found herself feeling an emotional connection to the world around her, and started to notice the beauty of the ordinary. By exploring the ever-evolving urban landscape during the nighttime hours, Jules has been able to capture a cinematic atmosphere in her photographs. With each shot, she is striving to capture that one perfect moment that will stay suspended in time forever. Though Jules is not yet where she dreams of being, she is continuously experimenting and searching in the hopes of finding that elusive shot. Join us as we explore Jules’s journey and uncover the magical and mystical world she has created. “I have been interested in photography for as long as I can remember, but I have only been taking it seriously relatively recently. Two years ago I was still snapping away on a smartphone, then I joined Instagram and became obsessed!” IN CONVERSATION WITH JULES CARR THE PICTORIAL LIST: Jules, where do you find your inspiration to photograph? JULES CARR: Everywhere! I'm fascinated by the ordinary, the mundane, stillness, empty spaces. TPL: Have you ever been involved in the arts before photography? JC: I've always been interested in art and design. I'm also a musician. TPL: Who are your favourite artists/photographers? JC: So many favourites! Photography wise, Julia Margaret Cameron, Lee Miller, Robert Frank, William Eggleston, Fred Herzog, Norman Parkinson, Don McCullin, Todd Hido, Joshua K. Jackson to name just a few. I particularly like mid 20th century American photography. Too many artists to mention, but I’d include Whistler, Grimshaw, Hopper, and Hockney. TPL: Has your style of photographing changed since you first started? JC: In many ways my compositions are not radically different these days, but I'd like to think they are more refined. My editing skills are definitely better than they used to be, thank goodness! I am learning all the time. TPL: Where is your favourite place(s) to photograph? JC: Empty urban landscapes, after dark. I'm fascinated by the ordinary, the mundane, stillness, and empty spaces. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? JC: I think it very much depends on what you hope to achieve. You really don’t need expensive gear to produce great photos. For me personally, the image stabilisation on my Sony enables me to take great handheld shots in low light, which means I can take my camera anywhere without needing a tripod. Perfect for me as I like spontaneity and travelling light. My favourite lens is the cheapest I’ve bought: a vintage Zeiss Flektogon with bags of character. TPL: What characteristics do you think you need to become a photographer? What’s your tips or advice for someone just getting started in your genre? JC: Hmmm…slight obsessive tendencies don’t go amiss! I notice frames everywhere I go, but I'd say my best shots are the ones that I have an emotional attachment to, that capture a mood. I don’t feel qualified to give advice, but I’d say take endless shots, and never stop looking! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JC: Like many photographers' in these unprecedented times, when the coronavirus lockdown started it seemed really important to me to document it. So began an exciting collaboration with photographer and musician James Bacon @thesheffieldlens, which has resulted in a still evolving online exhibition entitled “Still Life”. This explores the poignant emptiness of the surreal urban landscape by day and by night. Caught between the loss and uncertainty, there is Still Life. I am also concentrating on urban night photography at the moment, with a view to hopefully producing a photo book at some point. TPL: "If I wasn't photographing what would I be doing?... JC: Something musical!" Jules Carr's journey into photography has been a wonderful and inspiring story of how life changes can spark and create a passion, and how creativity and experimentation can bring something truly special to the everyday. So if you're looking for a wonderful story, mesmerizing photographs, or simply some inspiration, be sure to follow Jules' journey by clicking the links below. VIEW JULES' PORTFOLIO Jules' 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.

VISUAL VOCABULARY Documentary and street photographer Vinh Tran, allows his photography to become his vocabulary, allowing the visual to become his words. VISUAL VOCABULARY August 13, 2021 INTERVIEW PHOTOGRAPHY Vinh Tran INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Vinh Tran is a documentary and street photographer currently based in Vietnam. Vinh allows his photography to become his vocabulary, allowing the visual to become his words. Vinh’s first photography approach was in January 2015, when he bought his first film camera – the rangefinder Yashica Electro 35GT. Vinh took a tonne of photographs and he spent most of his money buying and developing films. Shooting film, at the time, was a therapeutic photography practice that helped him cured all of his anxiety. One day, unaware of who she was, Vinh read an article about Vivian Maier, the American street photographer, and was utterly astonished. Her story was so inspirational to Vinh and changed his life, a full 360 degrees since then. For Vinh photography has become part of his daily practice, carrying a camera all the time, taking images of everything and everyone. Photography has become an integral part of his life. “I realised photography has always been there with me during the darkest times of my life. I thought it was just a hobby initially, but it is the only thing that makes me feel happy. I asked myself: “If not now, then when?” IN CONVERSATION WITH VINH TRAN THE PICTORIAL LIST: Vinh please tell us about yourself. What was that moment that sparked your interest to pursue photography? VINH TRAN: I was born and bred in Ha Tinh, a small city on the North Central Coast of Vietnam. Like any other parents in this developing city, my traditional-loving parents used to control my every single move. I was forced to follow their decisions, to study at a certain university, find secure jobs, and then get married. Basically, to live an ordinary live without taking any risk. Most of the young in Vietnam have no choice but to go to universities that our parents think are "more prestigious," which would help us find promising jobs in the future. I was no exception. I majored in law, and I was lost by the time I graduated since I always have a tendency towards art, but I did not have any courage to chase my dream. After I graduated from a Law University, I worked for several companies in different fields hoping that something I truly like would come up one day. But my days always ended up hopeless. It took me quite a few years to overcome the fear of chasing my dream all thanks to Vivian Maier’s inspiring story. It is not only about her images but also her life. Gosh, I wish I could hug her and tell her how much her story really meant to me. I realised photography has always been there with me during the darkest times of my life. I thought it was just a hobby initially, but it is the only thing that makes me feel happy. I asked myself: “If not now, then when?” Years of working different desk jobs came to an end eventually, I am going to Budapest this September to pursue another study, which is Photography. I am currently residing in Hanoi, Vietnam, and just patiently waiting for my Visa Approval to Hungary. TPL: How did you first approach making the images in your project DON'T WITHER AWAY? What were your initial impressions when you started this project? What compelled you to document life in a nursing home? VT: I actually drafted quite a few projects first; then I talked to myself that my very first project should be something really connected to me, to my life. My project was born from my imaginary fear. One of my biggest fears in life is living without any objectives. A life without goals would be pathetic to me. I imagined if I was old already, too old that I could not accomplish a list of well-thought-out goals and have nothing to look forward to. That would be depressing. One of my first impressions when I started this project is the connection between me and my subjects. They have their own unique stories to tell, which I feel so connected to in many ways. There were many times I asked myself: "How is it like living in a nursing home? Especially when you are an introvert who needs a personal space like 24/7? Would it be ok to live in a nursing home when you are a person with countless objectives and expectations?"… These questions led me to the project. I just dived into it to find out the answers. *Editor's Note: Read Vinh's story DON'T WITHER AWAY in link below. TPL: What did you encounter as an outsider? What was it like to witness the interactions between the residents and staff? VT: There were some obstacles, of course. Not all of the people there in the Elderly Care Center are camera friendly. Seeing a young guy who carried a camera all the time was something not so comfortable to them. For the first few days, I try to interact as much as possible to build trust with them. They eventually treated me as if I was their son and allowed me documenting them freely. Aged care nurses have a considerable amount of daily tasks to do so it is understandable that sometimes they cannot take care of the elders there properly. I saw them yell at the elders a couple of times or even force residents to participate in certain activities for easy management. As an outsider, I could not intervene in anything but try to chill the situation out by talking to the elders because they love having someone listen to them. TPL: Talk to us about some of your other projects. For you personally, why are making these photographs important? What do you want viewers to understand through your images? VT: TRANQUIL is my ongoing project which aims to demonstrate the desires of individuals who wish for a tranquil and peaceful space where they can get away from the chaotic and suffocating society. It somewhat reflects my life, and it is my long-term project. I think a great photo is a photo that can evoke emotion. And it is pleasing when your viewers say they are "in tune" with your images. That is my goal, to draw viewers’ attention to touching and meaningful photo stories. TPL: Your work ranges from photojournalism to street photography, how do you define yourself as a photographer? VT: Frankly, I always ask myself "Am I good enough to call myself a photographer? Or am I just a snapper?" For now, I would call myself a photography practitioner. Shoot more, create more stories. I don't know, let time answer that. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VT: Vivian Maier is my all-time favorite artist, of course! Her dedication to photography is extraordinary. Irina Unruh, a documentary photographer from Kyrgyzstan. Check out her project "I am Jamilia”. Skinny Siddhartha, a Vietnamese street and documentary photographer. I learnt a lot from his photos. And, Julia Fullerton-Batten, a German Photographer. Everyone loves her work "Looking Out from Within." Frankly, I always ask myself...Am I good enough to call myself a photographer? Or am I just a snapper?...For now, I would call myself a photography practitioner. Shoot more, create more stories. I don't know, let time answer that. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? VT: Yes, it does definitely. This topic is somewhat controversial, but to me, camera gear matters. I am not talking about some cutting-edge features like high-resolution, ultra-fast continuous shooting, dynamic range...But the best camera is the one you feel comfortable with, the one that makes you want to pick it up and shoot every day. For instance, I used to own a Leica M240; it felt great in my hand and made me want to go out shooting anytime I picked it up. I have used a variety of cameras for the past few years, from film to digital. Most of my images were taken with the Leica M240 and Fujifilm X-T20. Currently, I am using the Fujifilm X100V for my street/documentary photography and Sony A7ii for my commercial work. Regarding the focal length, I would describe myself as "a 35mm person". TPL: Do you prefer to work in black and white or colour? Do you spend a lot of time editing? What is your process? VT: It depends on the story I want to tell. Sometimes playing around with highlight and shadow would be fun, so I would prefer B&W. But if the color needs to be toned out, then I would go for some color tweaks. Editing plays an essential role in photography indeed. Usually, a bit of adjustment would be enough for my street images since I always pay attention to raw results. But It may take a couple of hours to modify photos that are part of an important project because I always like to experiment with different edits. This is my recipe when I am editing: A good playlist -> Read and see five projects from any Photographers/Artist to boost my mood -> start editing. TPL: The past year and a half has been tough on many artists. How have you been feeling through this time, both personally and as a photographer? VT: As an introvert, dealing with lockdown is not a big deal to me. It is just sad when lots of artists/photographers out there are mentally and financially struggling during this time of COVID. Some of my projects are temporarily suspended due to covid also. But I am so looking forward to my upcoming time in Budapest! I am an optimistic person who always looks at the bright side of life, so I do believe the situation will get better. TPL: What are some of your goals as an artist/photographer? Where do you hope to see yourself in five years? VT: As a photographer, to be able to create photographic stories in satisfaction is to live twice. Hopefully, in five years, I can accomplish some of my ongoing projects and publish a photo book (or maybe more). TPL: Are there any projects you are currently working on that you would like to let everyone know about? VT: There are several more projects that are currently just drafts in my notebook. For instance, I want to tell a visual story about me - as a free thinker and the relationship with my Buddhist parents and my Christian girlfriend. TPL: "When I am not out photographing, I (like to)… VT: To get lost in my train of thought. It always leads to some interesting ideas." Vinh allows his photography to become his vocabulary, allowing the visual to become his words. We take the opportunity to thank Vinh for sharing his inspiring words and photography with us. Please use links below to see more of Vinh's work. VIEW VINH'S PORTFOLIO Read DON'T WITHER AWAY by Vinh Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. A VOYAGE OF DISCOVERY March 16, 2025 INTERVIEW PHOTOGRAPHY Fanja Hubers INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In the subtle interplay of light and shadow, Fanja Hubers’s approach to photography unfolds from a foundation of personal experience, introspection, and the act of observation. Inspired by her father’s use of the camera, Fanja’s journey began in 1982 with her first camera, a Konica Pop, a camera that became an extension of her daily life. Since then, she has maintained an unwavering commitment to carrying a camera wherever she goes, capturing the moments that connect her inner world with the external environment. Her work is not only a documentation of what she sees but a continuous exploration of how personal history, memory, and emotion intersect with visual storytelling. In A Voyage of Discovery, Fanja shifts her focus inward, using photography to explore a time of vulnerability and a deep, personal reimagining of her creative process. This project serves as a meditation on identity, questioning what it means to be both a photographer and a human being. Influenced by Indian photographer Raghubir Singh’s belief that photography reflects both the inner and outer worlds, Fanja seeks to bridge these dimensions through her images. The result is a body of work that does not merely record the visible but seeks to reveal the unseen — emotional states, fleeting thoughts, and the deeper layers of human experience. Beyond this project, Fanja’s broader portfolio includes Empty Faces, One Moment in Time, People as They Are, Rediscover the First Moment of Seeing, and The Simple Beauty of Nature. Each series represents an extension of her visual inquiry, whether through candid street scenes, studies of human presence, or explorations of momentary ephemeral beauty. Her approach remains consistent in its attention to atmosphere and the emotions embedded within the act of seeing. Her work has gained recognition in international exhibitions, including the Women Street Photographers Annual Exhibition in New York (2024), the Rome Art Expo (2023), and Photography in the Visual Culture in Palermo (2023). She has also been published in Quadro Magazine, Mina Art Magazine, and other photography journals, further establishing her presence in contemporary photographic conversation and visual culture. This interview examines the foundations of Fanja’s artistic development, her evolving relationship with photography, and the ways in which her images serve as both documentation and personal reflection. Through this conversation, we explore how she constructs meaning through visual language, how her experiences shape her perspective, and what continues to drive her pursuit of capturing life through her camera. “I started capturing and recording events, especially on weekends and summers on our boat. Over time, I learned more about the technical aspects and bought my first DSLR camera during my student years. I increasingly photographed street scenes, everyday life, and funny moments. In recent years, I have come to see photography more as an art form to express emotions.” IN CONVERSATION WITH FANJA HUBERS THE PICTORIAL LIST: Your father’s influence played a role in your early interest in photography. Are there any specific lessons or philosophies he passed down that you still carry in your work today? FANJA: Besides the fact that he also used to shoot in black and white and had a certain calmness in his compositions, it was mainly the technical aspect that stood out. When I passed my final exams, he took me to Paris. Because of his fear of heights, he didn’t dare go to the top of the Eiffel Tower. On the first floor, he explained how his camera (a DSLR) worked, and I was allowed to go to the top alone to take photos. From that moment on, I wanted a camera that I could set entirely manually. TPL: How has growing up in Utrecht, the Netherlands, shaped your visual perspective and artistic approach? FANJA: Utrecht is a beautiful city full of life. But in other cities, I felt more anonymous, and I sought that out more often—until recent years. After visiting many other cities, I have come to appreciate Utrecht even more. TPL: You emphasize carrying a camera with you at all times — is there ever a moment where you feel capturing an image would interfere with truly experiencing it? FANJA: I noticed that during my first trip to India. I had to be careful not to experience the entire journey through my viewfinder. That’s when I decided to occasionally put my camera away so I could fully experience the trip. And I know you always have to pay attention to that. TPL: Your project ‘A Voyage of Discovery’ is deeply personal, exploring vulnerability and self-reinvention. What inspired this particular shift inward, and how did the creative process evolve throughout the project? FANJA: In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. I wanted to express this in a creative way because I was increasingly discovering that photography is not just a way to document life but also an art form to express emotions. I was (and still am) quite insecure about this, but with the feedback of an inspiring photographer, I gradually gained the confidence to share more of my work. Since I started photographing with more emotion, I have also gained recognition for my work. TPL: Do you see your photography as an act of storytelling, or is it more about capturing fleeting emotions and moments in time? FANJA: Both. Photography has become more of an art form and a passion. But I must not forget to capture memories, such as my son growing up. For me, the essence of photography is still about capturing moments so that later, you can relive memories when looking back. In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. TPL: Your work captures the subtleties of human presence. Do you feel that photography has changed the way you see people in everyday life? FANJA: People don’t change, but how you see them might. This is also strongly dependent on how I feel that day. TPL: Raghubir Singh’s philosophy on photography bridging inner and outer worlds is a key inspiration for you. What other artists inspire you and your photography and why? FANJA: Valerie Jardin — I really love the romance in her photos. Elliot Erwitt—for his humorous images. But also, Anton Corbijn, when it comes to capturing emotions. TPL: How does seeing your photography in print — whether in exhibitions, magazines, or books — change your relationship with the images compared to viewing them digitally? And what are your thoughts on the role of printed media in an increasingly digital world? FANJA: I think both are important. Digitally sharing is a good way to eventually end up in an exhibition or a book. And that is ultimately more valuable than the fleeting nature of the online world. But social media also allows me to meet others from around the world, from whom I can learn and gain inspiration. TPL: As you look to the future, how do you see your photography evolving? Are there particular themes, techniques, or approaches you are eager to explore? What are your aspirations for your photography, and where do you hope to see yourself creatively in the next 3–5 years? FANJA: I would like to further develop the series ‘A Voyage of Discovery,’ and ultimately, it is a dream of mine to have a solo exhibition in my own country, so that friends and family can visit it as well. I hope I can continue like this and that I will retain my passion for photography. TPL: What would we find in your camera bag? Is there anything on your WishList? FANJA: I have no camera bag, just one camera, the Fuji x100vi, around my neck. For a backup camera, family shoots and video I have a Fuji S10 with some interchangeable lenses. But for 99% I use the Fuji X100vi. TPL: “When I am not out photographing, I (like to)… FANJA: ...Enjoy life with family and friends, my work as an educator, and play the piano.” Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic expression. A Voyage of Discovery marks a turning point in her work, shifting from observation to introspection and transforming photography into a tool for self-reflection. Her images capture more than moments; they reveal emotions, memories, and personal narratives. With a clear vision for the future, she remains committed to developing her art, sharing her perspective, and pursuing new opportunities for engagement. As she moves forward, her work continues to evolve, shaped by experience, curiosity, and an unwavering dedication to storytelling through photography. VIEW FANJA'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.

The built environment, static and inanimate, is the stage upon which a walking choreography is played out. The humans, who bring the animate, are spatially arranged as though carefully directed. Have they been conditioned already to act like automatons or self-absorbed passersby uncannily acting out parts in mental isolation? I don't actually direct images but adhere to the rules of candid street photography. I'll often 'build' a shot by waiting for a satisfactory outcome in real time. This, according to other commentators, is perhaps why the images ring true as documentary. Often shot in a half light with a muted colour palette, there at first seems something sad about these corporate scenes but there is an intention to transcend the mundane by sometimes making comical comment on our increasingly designed environment. STREETMAX 21 The built environment, static and inanimate, is the stage upon which a walking choreography is played out. The humans, who bring the animate, are spatially arranged as though carefully directed. Have they been conditioned already to act like automatons or self-absorbed passersby uncannily acting out parts in mental isolation? I don't actually direct images but adhere to the rules of candid street photography. I'll often 'build' a shot by waiting for a satisfactory outcome in real time. This, according to other commentators, is perhaps why the images ring true as documentary. Often shot in a half light with a muted colour palette, there at first seems something sad about these corporate scenes but there is an intention to transcend the mundane by sometimes making comical comment on our increasingly designed environment. LOCATION UNITED KINGDOM CAMERA/S Fuji x100s, Nikon D700 WEBSITE https://streetmax21.com/ @STREETMAX21 FEATURES // Street Choreography

LANDSCAPE OF MY ALWAYS Driven by nostalgia, Francesco Mercadante returns to photograph the landscape where he was born. A journey of rediscovering his roots. LANDSCAPE OF MY ALWAYS November 12, 2021 INTERVIEW PHOTOGRAPHY Francesco Mercadante INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The passion for photography has accompanied Francesco Mercadante's life since he was about nine years old when he was gifted a blue 'Rondinella' bicycle and a Kodak Instamatic from his father. Both items were inseparable friends on his many solitary escapes over the countryside of his home in Calabria in Italy to capture "glances" and to imagine and dream, marking Francesco's "passage of time". His love for photography and nature, that, still today, he goes looking for, and as he states, she (Mother Nature) calls me amongst the country paths and the expanses of meadows, skies, trees, streams and old abandoned houses. To Francesco they are harmony, landscape architecture..."furniture of the Earth"...fragments of human life. With stories to tell, these landscapes evoke atmosphere and an aura that intimately breathes. Francesco rediscovers those moments from his childhood when he went back to his hometown in his project LANDSCAPES OF MY ALWAYS. “I started this project one summer afternoon. In the twilight hours I picked up my camera and set off. Driven by the nostalgia of when, as a boy, I used to ride my Moped along the road to the sea. Forty years have passed and now, and seeing that landscape again, it is as if I had found another part of myself, still there, waiting for me. It is the work of my heart and the memory of my childhood. So I started photographing the landscape of my hometown, Cutro, where I was born in Calabria. Here the hills become low and, especially in summer, thanks to their yellowish colour (due to the cultivation of wheat), they resemble the scenery of desert dunes. Pier Paolo Pasolini decided to shoot some scenes of the film 'The Gospel According to St. Matthews in this landscape. Driven by nostalgia when, as a boy, I used to ride my bicycle along the road to the sea. I used to cross the landscape of mine while travelling in the truck with my father when he took me with him to load the onions that were used for the sale of his trade in the markets. Then, as a child, I admired these yellow and sunlit dunes from the finerino and from there, a few kilometres away, the view would open to a blue sea. My project gave me great opportunity to relive my most intimate memories, to walk and photograph those places I had always seen through a window. I have rediscovered my roots.” My roots My roots are firm even if they are far from their own land. My roots are like olive wood with outstretched arms almost wanting to caress the red and clayey earth that welcomes them. My roots smell of tufa dust of almond tree in bloom of cultivated gardens. History and perfumes come together in my land, releasing sensations of peace and tranquility, where the sea and the sky they marry in a single color. In the countryside the ancient beams look out like great ladies there time stopped I walk in my land, every time it's a surprise, I find myself I smile and rejoice in so much beauty. - Alda Merini IN CONVERSATION WITH FRANCESCO MERCADANTE THE PICTORIAL LIST: Francesco please describe that memorable moment when you were nine and gifted a blue bicycle and a Kodak Instamatic. Can you tell us a bit more about your beginning in photography? Talk to us about the evolution of your photography. FRANCESCO MERCADANTE: I took my first photograph when I was nine: it was a family birthday, I was entrusted with a camera for family group shooting. I remember there was an ovation when they developed photography on paper; everyone happy and from that moment I fell in love with the photographic object. On my birthday my father gave me a blue bicycle to share with my younger brother and a Kodak Instamatic camera. The passion for photography accompanies me up to the age of 20 taking instinctive photos in moments of going out with friends or on birthdays, and in the days of Easter Monday and mid-August holidays. In the following years, painting takes the place of photography and I begin to paint trying to represent what I photographed. At the age of 40 I took up photography again but this time no longer by instinct but an emotional photograph. My projects always arise from a lived emotion, an emotion that comes to me listening to a song, watching a documentary, or along an old road, the passage of a sailboat, the whistle of a train, the arrival of seagulls at sunset, the muted light reflecting through the leaves of the trees. TPL: Talk to us about your projects. What is it that inspires you to be a visual storyteller? What have been some of your most memorable moments? FM: It often happened to me to run out when I photographed instinctively because I went out without a precise destination and photographed everything I saw and without realising it I found myself with 500 shots and I could not compose a project, but only single shots. Over the years I have acquired a lot of experience and awareness. Today I work with more serenity because before going out to take pictures I have to have an idea in my head, a reason that pushes me to often photograph an emotion. TPL: What are some tips or advice you would give yourself if you started photography all over again? FM: If I started photographing all over again, I would suggest myself to listen to the heart more and let go of the emotions. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance FM: My favorite photographer is Ernst Haas his art his photographs are a source of great inspiration that help me to search and experiment both in photography and in painting_ TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? FM: Having to choose a photographer to photograph with him for a day, I would choose Ernst Haas because from him and with his creativity I could receive a strong emotion. My projects always arise from a lived emotion, an emotion that comes to me listening to a song, watching a documentary, or along an old road, the passage of a sailboat, the whistle of a train, the arrival of seagulls at sunset, the muted light reflecting through the leaves of the trees. TPL: When you are out shooting - how much of it is instinctual versus planned? FM: As I mentioned before, instinctive photography no longer belongs to me today I only photograph if I have an interest in something that I have already planned before the release. 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? FM: I think that to achieve a good photograph you don't need a camera and very expensive lenses. I use a Canon EOS 6D mark II and a telephoto lens with a focal length of 28-300 mm. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? FM: I am working on a project that I photographed on a summer night, it is always an intimate work linked to my memories and my roots that I really care about. The title of the project is "Memories Cutro" will be released shortly, however, by the end of 2021. TPL: "When I am not out photographing, I (like to)… FM: When I'm not out taking pictures I like to read, or listen to music." Driven by nostalgia, Francesco returns to photograph the landscape where he was born. We thank Francesco for the opportunity to share with us his journey of rediscovering his roots. VIEW FRANCESCO'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.

PICTORIAL STORY GERMAN VOICES CRYING OUT FOR FREEDOM SUPPORTING THE REVOLUTION: WOMEN, LIFE, FREEDOM IN IRAN “Injustice anywhere is a threat to justice everywhere. We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.” - Martin Luther King Jr., Letter from the Birmingham Jail. November 30, 2022 PICTORIAL STORY photography PAOLA FERRAROTTI story PAOLA FERRAROTTI introduction KARIN SVADLENAK SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Paola Ferrarotti is an Argentinian photographer living in Germany. Her early love for photojournalism was displaced by her studies of political science and international relations. More recently though, she has picked up her old passion again and is now using her photographic eye both to document life, and to create photo art. For this poignant story, Paola has documented the growing protest movements taking place in Germany in support of freedom for Iran's women, and against violence against women. We wanted to support Paola ’ s project and publish the series at a time when the media focus is on these events, and also on the prevention of violence against women more generally. We are in the middle of “ orange the world ” , an annual campaign event of awareness raising and advocacy against all forms of violence against women. The United Nations General Assembly has designated November 25 as the International Day for the Elimination of Violence Against Women. The date was chosen to mark the 1960 assassination of the three Mirabal sisters, who were ordered killed by the Dominican dictator Rafael Trujillo because of their political activism. The protests now going on for the freedom of women in Iran were sparked by the death of Mahsa Amini, a young Kurdish Iranian woman who had been arrested by the Iranian morality police in September who accused her for not wearing her hijab properly. She died in hospital shortly thereafter. The Iranian government has been cracking down on protesters with severity. A recent report of the UN Human Rights Council stated that more than 14,000 people have been arrested in connection with the protests and some of them face the death penalty. And yet people continue to protest, in more than 150 cities all over Iran, and the protest waves are finding support in countries around the world. Paola tells a gripping and very current story in her own words. IT ALL STARTED WITH A PHOTOGRAPH. Towards the end of the 1980s, my mother, a French translator, regularly received the magazines Le Figaro and Paris Match. I was a primary school girl, always curious and a lover of books, magazines and everything that contained letters and photographs. One day, leafing through these French magazines that my mother used to read, trying to practice my basic French, I came across, I don’t remember in which of those two magazines, an image that has remained etched in my mind to this day. I remember that my first impression was of a fallen man in the snow. I was so struck by those white balls that looked like snow and that bloody fallen man that I couldn’t take my eyes off the photo that, if I remember correctly, occupied two pages. Trying to understand what had happened I began to read the note and was immediately horrified. The photo before my eyes was of a man who had been stoned to death in Iran. My mother explained to me, in the most delicate way possible but without lying to me, that a man from a distant country had been executed by throwing stones at him until he was killed. And he was photographed like that, lying, with his eyes closed and blood on his head between white stones. Until that moment I knew nothing about Iran, the Islamic Revolution or such a cruel and bloody way of executing a person as stoning. That photo was etched in my mind and to this day, if I close my eyes, I remember it. DEATH BY STONING. Many years later, at university, when I was studying Political Science and International Relations, I began to study the Middle East, a region that attracted me from the beginning of my studies because of its complexity due to its social, economic, political, ethnic, cultural, and religious characteristics. In the last stage of my studies, having to choose a topic, I chose the 1980-1988 Iran-Iraq war. Iran was still there, calling me, and I tried to learn more about its history and the events after the Islamic Revolution. Because the Islamic Revolution with its cruelty had impacted me as a child and in my university years, that memory was still there, latent. The Dictatorial Regime of the Islamic Revolution was an event I wanted to learn more about, despite living in Argentina with the physical and cultural distance that this implies. Later, after finishing my studies, my life, following an intercontinental move, changed its course completely. My path took me into Spanish Linguistics and Literature and the teaching of these subjects. But my interest in political science and international relations never disappeared. And in particular, my interest in the Middle East, that region as fascinating to me as it is chaotic, never died out. And so, I continued my life, always reading the news, always trying to stay informed about world events, including those in the Middle East. IT ALL CONTINUED WITH PHOTOGRAPHY. Linguistics, literature, an interest in world affairs, world problems, all that, and of course many other things were there in my life, when at the beginning of 2020, I added photography to my list of interests. Photography, a practice that I had always liked but had never consciously dedicated myself to. And that’s when I realised that it awakened a passion in me and that, in turn, I could combine it with my other passions. And so, slowly, I got into photography, which, by capturing crucial events in process, allows us to document a fact that may be about human beings, animal life, forests, rivers or any other aspect of the natural world. This documentary photography caught me and awakened in me an interest in learning to take pictures with an emotional character, showing universal experiences and interests. Since the beginning of the year 2020, taking my first steps in photography, I began, without realizing it, a path where all my interests were coming together, giving birth to something that, still with a lot to learn, I am passionate about. Photography can be used as a tool to promote awareness of events that are physically distant from us, thus awakening our interest, our empathy, our support and bringing us closer together as human beings, inhabitants of the same planet. Likewise, in the media, photography is a key element for the contextualization of the event narrated, even more, it can weigh as much as an article as it is information in itself. Nowadays, in a world in which we live connected at all times and in any place through mobile devices, the presence of images that bring us closer to a current social issue, however distant it may be from us, and that awaken our interest, is of immense value in generating, if necessary, a universal social conscience, that is, a social conscience of solidarity with the struggle for the fundamental rights inherent to the human condition. TWO NEW PHOTOGRAPHS TOOK ME BACK TO IRAN. On 16 September 2022, a photo of Mahsa Jina Amini was published, a 22-year-old Iranian woman of Kurdish descent, who was being treated at Tehran’s Kasra Hospital after being arrested and severely beaten three days earlier by Iran’s morality police for allegedly wearing her mandatory hijab inappropriately. On the same day, and around Amini’s death, a second photo was tweeted, this time of Amini’s parents hugging and crying in the hospital. That photo quickly spread, along with the report of Amini’s death. From that day on, many protests started to erupt over the death of a 22-year-old girl whose crime was not having her hair properly covered. These protests, which spread nationwide, were soon severely repressed by the regime’s security forces. These protests, today, several weeks after they began, and despite the harshness and cruelty of the repression by the country’s dictatorship, are still standing and spreading. The duration and spread of the demonstrations to all parts of the country and to almost all strata of the population testify to a deep-seated discontent and anger that goes beyond the rejection of the regime’s deeply restrictive dress code for women. The causes also lie in a social situation that has been worsening for years for large sections of the population and in massive repression. Anger over Amini’s death has brought to the streets all the indignation accumulated over the years against a cruel dictatorship that deprives its citizens of freedoms and is aggravated by growing political corruption, poverty, unemployment and inflation. PHOTOGRAPHS OF GRIEF, EMPATHY AND SUPPORT. The death of a young woman at the hands of the Morality Police sparked an unprecedented protest movement in Iran. People started to come out and shout more united than ever after 43 years of tyranny “enough” “down with the Islamic Republic” . Iran appeared united, courageous, outraged, tired of silencing what is wrong, shouting and fighting for the right to live free and facing strong government repression. And so, seeing an Iran in turmoil, Iranians in exile began to take to the streets to show their pain, their solidarity, their empathy and their support for the struggle for freedom. Today, two revolutions are underway against the Islamic Republic’s regime, one internal, which despite heavy repression does not seem to be letting up, and the other external, which demands actions from Western governments. Marches in solidarity with the protests in Iran are continuously taking place in many cities around the world. Exiled Iranians and more and every day more people from other places are coming together to shout for freedom in unison. Iranians in exile are driven by their love for their land, their people and their culture. The repudiation of the regime and the corrupt theocratic clique that rules Iran is shared and supported abroad by the millions of Iranians in exile. The Kurdish chant Jin Jiyan Azadi , originating from Jîna (Mahsa) Amini’s hometown in Kurdistan and translated into Persian as Zan Zendegi Azadi , Women, Life, Freedom , has become the main slogan of the current movement, both at home and abroad. © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti © Paola Ferrarotti More than 270,000 people of Iranian origin live in Germany. Most of them are waiting for the fall of the regime. The Iranian revolution raises hopes in exile. Iranians in exile in Germany take to the streets of the country’s cities to raise their voices and demonstrate and demand support. Today, the future is uncertain, and freedom seems distant, but we are witnessing a historic social movement inside and outside Iran that will undoubtedly be of great importance for the future of the country, the Middle East and the world. view Paola's portfolio The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

THE SOUL OF SHAPES By exploring the transformative power of photography, Françoise Lerusse graphically reduces objects to create a new geometric living space. THE SOUL OF SHAPES May 13, 2022 PROJECT SPOTLIGHT PHOTOGRAPHY Françoise Lerusse INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For many of us, the power of photography lies in its ability to capture a moment in time — a snapshot of beauty and emotion that can never be repeated. For Belgian photographer Françoise Lerusse, however, there is something even more powerful about photography: the ability to transform and transcend the mundane into something extraordinary. Having studied French literature and gone on to radio creation, TV journalism and film documentary, Françoise was always passionate about photography and inherited her passion from her father. It was through her collaborations with advertising professional photographers that she honed her eye for beauty in the mundane. In her new project SOUL OF SHAPES, Françoise focuses on urban spaces and human built environments to create emotional experiences for her viewers. Through exploration of light, shadows, contrasts, angles and perspectives, she is able to reduce practical objects to abstract shapes that become vessels for viewers to project their own emotions onto. This creative playfulness with design objects and architectural shapes is inspired by the photographic and graphic research of the early 20th century. The result of Françoise's work is a dream-like, expressionist world where the beauty of the everyday is given a poetic new life. “Starting from design objects and architectural shapes, I explore in this series the transformative power of photography. By experimenting with light, shadows, contrasts, angles, perspectives, double exposure, I graphically reduce objects to create geometric living space, as I always start from an emotion. Tables, chairs, lamps, stairs are thus freed from their status of practical and functional objects and give way to new shapes, subjective and poetic on which the spectator in turn will project his/her emotions or his/her questions. This work of reduction, sometimes at the limits of abstraction, is freely inspired by the photographic and graphic research of the beginning of the 20th century and in particular by the work of Rodtchenko, Moholy-Nagy, El Lissitzky and also Florence Henri.” IN CONVERSATION WITH FRANÇOISE LERUSSE THE PICTORIAL LIST: Françoise, what is the full story behind your project "Esprit des formes"? How and why did this first manifest for you? What was the inspiration? FRANÇOISE LERUSSE: I made this series at the end of 2020 and beginning of 2021 during the covid lockdowns, at home and in the immediate surroundings. The lockdowns led me to focus on my immediate world. I have always been interested in design and architecture and the objects that surrounded me had been carefully chosen at the time I equipped my living spaces. But they were now part of my daily life, I no longer paid attention to them and I had never thought of taking them as themes for my photos. Then suddenly I became aware of their interest. At the same time, I had just bought a new camera and started to experiment with photographing the chairs, tables and lamps in the different rooms. In particular, I wanted to see how the camera handled double exposures because they are an important part of my photography. Not all digital cameras do double exposures in the same way and the result can be very different from one to another. Immediately there was... it is the case to say it...a click. I was struck by the radiant lights and the soft shadows, with a slightly film effect, and above all these images, sometimes taken very closely, tended towards abstraction. They were very geometric and graphic. I was no longer photographing objects but lines, contrasts, angles, perspectives, shapes. I felt a liberation from the reality, from the need to “say” something. I was showing spaces that “presented” themselves rather than images that represented something, spaces that were pure and alive because they conveyed my emotions. It was very inspiring for me and so I continued. TPL: What does the title L'ESPRIT DES FORMES mean? Where did it come from? FL: L'ESPRIT DES FORMES could be translated as "The soul of shapes". This is what remains of the objects when I have reduced them to simple graphic forms. These objects are freed from their practical and functional status to become new, subjective and poetic shapes, which will in turn be interpreted by the viewer with his/her subjectivity. TPL: Talk to us about your method of working and experimenting before the final image. Did you know exactly what you wanted from the beginning? How long did each image take to create? FL: I choose an object for its design, its lines, the shadows created by the light that surrounds it or those it produces in the case of lamps. I move it very little, essentially so that it captures the light better. I do not set the scene, I start from what I see, a bit like in instant photography, in a very intuitive way. I photograph two or three objects per session, I don't think too much, the workflow is fast and meditative at the same time. I work without stopping, as long as the inspiration is there, until I feel drained and know that I have gone to the end of the possibilities. This usually takes between half an hour and an hour. The post-treatment is the other half of the job. This is where my photographic intention becomes clearer. It represents an important step in all my work. The editing can take several days or even weeks because I need things to settle down. The whole series took me about four months, which is rather fast for me. Just as design and architecture aim to harmonize the human environment, I try with these photographs to create a timeless universe that can help to forget for a little while the chaos of the world. TPL: How does your project L'ESPRIT DES FORMES differ from your previous work? Is this type of visual storytelling something you would like to pursue again in future projects? What do you think is your next chapter in your exploration with future projects. FL: For several years I focused on metropolises, in a maximalist aesthetic full of movement, accumulation and sometimes full of colours also. This approach lasted until 2020 with the publishing of my book about Bangkok, “Chaos”. More recently I felt the need to put a distance to this chaos by concentrating on simple things in a more peaceful way. This led me to a more minimal and abstract style. I had already experimented with this kind of approach, but those works can be considered as “drafts” as they had not arrived at the succeeded stage and they lacked the emotion that I felt with "L’esprit des formes". That said, I see also a continuity between these different bodies of work. Double exposure, high contrasts, focus on lines, on geometry, on graphic aspects have always been part of my photography and I have always practiced black and white in parallel with color. In fact, in "L’esprit des formes", I take my obsession with lines and graphics to the extreme, which is ultimately nothing more than a somewhat attempt to put some order in the chaos! I will certainly pursue this. I have already started a series of still life in the same direction. I realized that I like to photograph inanimate objects, it is similar to studio work. I like the freedom that it gives me, the control of time, the possibility of starting over, everything that is not possible in the practice of the snapshot. But I explore other avenues also. At the moment I am developing a series that I make while traveling by car between France and Portugal. I photograph gas stations. But in fact the subject is my state of mind, the meditative emptiness that the stops in these stations lost in immense and very open landscapes provoke in me. I accompany the photos with short texts, some sorts of poems. It is also a rather minimalist work based on one color, the red. I am also continuing another project about the locality where I live in Portugal, a historical village which is now caught up by urbanization because it is close to Lisbon which is expanding. I photograph this transition with an angle on the destruction, the disappearance of nature and the loss of meaning that this brings. TPL: Finally, what do you want people to take away from these photos? What do you want them to be asking themselves? FL: I would like them to feel an emotion, mine or theirs. I would like them to ask themselves questions about the reality of what they see. Things exist above all in our eyes so you have to put them into perspective. Having in mind that we can see things in different ways is worth much more than photography, it is a valuable asset in life in general and especially in the current world where there is so much intolerance. I would also like them to come away from the series with a sense of harmony. In the same way that design and architecture aim at harmonizing the human environment, I try with these photographs to create a timeless universe that can make people forget the chaos of the world, even if it is only for a few moments. Through a poetic and expressionist approach Françoise Lerusse focuses on urban spaces and human built environments. We thank Françoise for the opportunity to share her new project with us and her inspirations and processes behind her imagery. Please visit her website and Instagram to keep up to date on her new projects. VIEW FRANÇOISE'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.

PICTORIAL STORY DHARAVI Jimmy McBroom takes us inside Mumbai’s Dharavi, capturing the everyday strength of a community often reduced to stereotype. His photo essay invites us to look closer — not at poverty, but at people, lives lived with dignity, purpose, and quiet determination. July 30, 2021 PICTORIAL STORY photography JIMMY MCBROOM story JIMMY MCBROOM introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Jimmy McBroom is a social documentarian, fearlessly delving into the depths of the human experience to capture the raw and powerful moments that define us. His vivid and honest depictions of life in both Palestine and India have attracted international attention, having been used in political theatre and as part of the Sheffield Palestine Solidarity campaign. Now, Jimmy presents us with a photo essay documenting the lives of the people living in Mumbai's Dharavi Slum. This is a visual journey through the heart and soul of a place too often overlooked and forgotten by the outside world, a place where humanity and resilience thrive in spite of oppressive circumstances. Through his photographs, Jimmy offers an unflinching yet deeply human perspective on life in Dharavi — revealing not just the hardships, but the enduring spirit that defines the community. Dharavi is considered to be one of Asia's largest slums and has an area of just over 2.1 square kilometers and a population of around 1 million. Dharavi is one of the most densely populated areas in the world. I spent three months in Mumbai exploring Dharavi, meeting locals and learning about the industries within. I met some of the most inspirational and resourceful people there. I witnessed happiness and community, Hindus and Muslims living together in one of the poorest and most overpopulated areas of the world. There are a lot of misconceptions about Dharavi. The media portrays Dharavi residents as 'down and outs' in films such as Slumdog Millionaire and Coldplay music videos. This is not what I experienced. I witnessed resourcefulness and community with limited resources. I was overwhelmed with the sense of community, ingenuity and resourcefulness of the inhabitants. With issues such as only having running water for one hour per day, a lack of any sewer system, hazardous obstacles such as live electric cables around nearly every corner of the tight mazes (which make up one of the world's largest slums), I still found Dharavi a warm magical and welcoming place to be. Maybe an example of true anarchy? I also asked myself what has the “Western world” lost or forgotten and what could it learn from Dharavi? The industries here not only support the residents but also help support the rest of Mumbai with rag-pickers cleaning up waste and taking it to Dharavi to be recycled. It is estimated that 80 per cent of Mumbai's solid waste is recycled into usable materials. The UK’s recycling rate was almost half that, with just under 45 per cent of household waste recycled in 2015. Other contributions to the economy of Mumbai and industries include recycling sorting centers, paint, clothing, tools, soap, wood sculpture, leather, including a handbag brand (Dharavi Handbag) sold in fashion outlets in the west, religious ornaments and many others. It's a crucial time for Dharavi; a government development plan is threatening industries and their survival. Through talking with locals, I've learned how detrimental this scheme is. The plan currently suggests that the tower blocks are to be built over the land which currently holds these important industries. The locals are reliant on work to survive, which the slum currently provides, but the government plan does not take this into account. Jobs will be lost. Another concern is that the foundations for the tower blocks would be unsafe as Dharavi is built on an old rubbish tip around a water pipe. There have been recent buildings and bridges collapse in Mumbai due to cheap design and foundation issues. Speaking to many residents and locals, around 95% of people are against the government scheme. Other ways of helping Dharavi would be to allow more than the 2 hours of restricted water per day (5.30am -7.30am) and better sewage and drainage systems for example. Since leaving Dharavi, it has been in my thoughts every day. I will soon return. Obviously Covid has affected us all. Last year WHO (World Health Organization) praised Dharavi's fight against Corona. They managed to work together and flatten the curve of cases. Their strategies and working together as a community worked better than the rest of Mumbai. Door to door testing was done and fast responses to anyone with symptoms. I have remained in contact with Dharavi residents since I was there and keep in regular contact with them. Unfortunately, in recent weeks there has been a huge rise in cases and deaths all over India. Resources are completely stretched to beyond comprehension. This wave leaves Dharavi completely alone to fight an even bigger wave of Covid. Remembering Dharavi is one of the most overpopulated places on earth, with up to ten people living together in a small room, it is a breeding ground for the virus. © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom The people of Dharavi are the most friendly, welcoming, beautiful, resourceful, and inspiring people I have ever met. They welcomed me into their homes, fed me, educated me, and touched my heart. view Jimmy's portfolio Read an interview with Jimmy >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.

JOURNEY OF FREEDOM After two years of stagnation and a few lockdowns due to the Covid pandemic, Gabi Ben Avraham went to the United States for a family visit in September. JOURNEY OF FREEDOM December 10, 2021 INTERVIEW PHOTOGRAPHY Gabi Ben Avraham INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE For ardent street photographers, the world around them is like a feature film: a never ending story with frames that are just waiting to be captured. Gabi Ben Avraham, a passionate street photographer, is no exception. Through the lens of his camera, he finds beauty in the overlooked and mundane. His images are thoughtfully composed with each element carefully chosen to create a dialogue of its own - be it with color, shape or light. The Covid pandemic brought with it a period of stagnation and lockdowns, making Gabi’s recent trip to the United States even more special. His series JOURNEY OF FREEDOM speaks volumes of the joy he found in being granted the freedom to explore a new place and capture it in his own way. The images depict the forgotten people in urban surroundings, their fragile outlines and the beauty of their daily lives which are often crushed by the hustle and bustle of the city. In this interview, we take a look at Gabi Ben Avraham and his journey of street photography. Join us as we explore how his camera has become an integral part of him, and get a glimpse into his journey of freedom. “After two years of stagnation and a few lockdowns due to covid-19, I went to the USA on a family visit. I felt like a bird who finally flew out of its cage! The series depicts that wonderful feeling of freedom and expresses in a surrealistic manner the emotions of the people who went through covid-19, each of them in his own way.” IN CONVERSATION WITH GABI BEN AVRAHAM THE PICTORIAL LIST: Gabi please tell us about yourself. How did you become interested in photography? GABI BEN AVRAHAM: I am a 61 year old Israeli photographer. I was born and still live in Tel Aviv and work in a software company. After flirting with an initial fascination with photography and film cameras in the 1980s, I went on to pursue a career as an IT manager and put my love for the still image aside. Fortunately, my interest never disappeared. While the passion lay dormant for decades, all it took was the gift of a camera from my wife to awaken my inclination towards photography again. TPL: What does street photography mean to you? Describe your style. GBA: The Street is not a Studio. Sometimes I stand and wait for things to converge – a cyclist, a dancer, a child – moving along. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. Everywhere I go I take it with me thinking ‘maybe today will be my lucky day and I will take the photo of my life’. Via the camera lens I am constantly looking around me, searching for that ‘decisive’ moment that will never return, unless I catch it. When pushing the button, I try to make some sense, restore order to the chaotic scheme of things in the composition, tell the story behind the scene and frame a surrealistic moment. The components 'speak' with each other in a special dialogue, either by color, shape, or light. Capturing the elusive, special moment after which things will never be the same and making it eternal – that is my goal. TPL: What have been some of your favourite memories or moments in your photography journey? What have you personally gained from your experiences? GBA: When I visited Cuba, I was invited to a home and after a moment found myself surrounded by pigs. Maybe the word 'surprising'; is better to express what I felt. At first I was alarmed but eventually the whole situation was amusing. I like to observe people in religious ceremonies and festivals. I wait for the right surrealistic moment which will take things out of context and make them special. TPL: When you are out photographing - how much of it is instinctual versus planned? GBA: Both. I choose the background and wait for things to emerge. This is a long process. At a single click, I try to fill the insignificance around me with significance and create a private and intimate hallucination in order to share it with the viewer. Even though the moment fades, it is burnt in the memory of the viewer. Like a fisherman who goes to his daily work without knowing what he will catch, I take my camera and dive into the streets without knowing what will happen five minutes later. It is an adventure. When I click I try to see the surreal and to sort things out of their everyday meaning and their usual context. I have my favorite places and I never come with the same photos. It is always different: the people, the light and shadows, the atmosphere. TPL: What are some tips or advice you would give yourself if you started street photography all over again? GBA: Try to build your own style. Exercise a lot with the camera. Find your own Master and be open to critics. Street and documentary photography are my favorite way of looking at the world. My camera has become an integral part of me and I cannot imagine myself without it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? GBA: I am inspired especially by Henri Cartier Bresson as well as Sebastião Salgado for their black and white images and by Alex Webb, Harry Gruyaert and Nikos Economopoulos for their fantastic work with surreal composition and great colors, and by many more talented photographers. 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? GBA: In general I believe that the equipment is just a tool so it doesn't really matter. As for myself I am using Fuji XT-3 usually with 18 mm (27mm) prime lens and sometimes Fuji 23mm (35mm) prime lens, because the camera is small, light and does not draw attention. I enjoy shooting with wide lenses which enable me to build a full story in the frame. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? GBA: I want to continue travelling in the world and look for new locations to shoot. Let's hope that covid-19 will end soon so we can move freely around the world and I can do some serious projects, for example India. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? GBA: I want to have more exhibitions and work on a book which will depict my work. TPL: When I am not out photographing, I (like to)… GBA: Have some drinks with my friends, watch TV, go through some photographic books and listen to music. In short I like to enjoy life. Gabi Ben Avraham is a master of street photography, capturing the beauty in the overlooked and mundane. His recent trip to the United States showcases his talent in perfectly composed images that depict the forgotten people of urban surroundings. His series speaks volumes of the joy he found in being granted the freedom to explore and see the world through his camera lens. If you are looking for stunning shots of everyday life, Gabi's photography is worth a look. To see more of Gabi's work, follow his Instagram page and visit his website. VIEW GABI'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.

MAKING NOISE As a very sociable person and able to talk to everyone, street photography for Noisy Kid is an artistic discipline that he practices simply. MAKING NOISE February 23, 2022 INTERVIEW PHOTOGRAPHY Noisy Kid INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Noisy Kid has been around for quite a while; first as a musician, and now as a photographer. His fun, outgoing personality and willingness to talk to anyone make him the perfect street photographer. He's known for his unique style, which he describes as 'Wherever you are, I shoot you!' His photographs capture candid moments of everyday life with an attitude that's both playful and spontaneous. At an exhibition of his work, a lady asked him how he could photograph people so easily. Noisy Kid explained that he has the ability to connect with people quickly and without hesitation. He never waits hours for the perfect moment and instead relies on his instinct and proximity to his subjects. He's an artist with a distinct approach that comes from his experience as a musician, and as a photographer, he has mastered the art of noise in photography. “I played guitar in a punk rock band with which we did a few gigs. I had a tumour on my auditory nerve and after the operation it was prudent to stop playing music. I am a bit deaf on the left side. My nickname as a musician was Noisy Kid, now it is my nickname as a photographer. I was lucky because the notion of noise exists in photography.” IN CONVERSATION WITH NOISY KID THE PICTORIAL LIST: Noisy Kid please tell us about yourself. NOISY KID: I am a 53 year old Belgian photographer. I am very dynamic and very sociable. I live around 40 minutes from Brussels. My house is in the countryside, so it's pretty nice during a pandemic. Only the moment counts for me. I never analyse myself in relation to the past. Today I'm ok in a crazy world, I always see the glass half full, never half empty. I think that my sociable side is reflected in my images. I have a second job as an office worker (administrative expert). TPL: What draws you to photography and art? How did your journey into photography begin? NK: I started drawing when I was a little boy. I think the reason is simple, I liked comics and I wanted to reproduce what I was reading. There's nothing to intellectualise, that's the only reason. When I was older, I gave up drawing for music. I played guitar in a punk rock band with which we did a few gigs. The problem with the band was that one of the members was a drum machine, which never replaces a real drummer (at least at that time, late 90s). As for me, I had a tumour on my auditory nerve and after the operation it was prudent to stop playing music. I am a bit deaf on the left side. My nickname as a musician was Noisy Kid, now it is my nickname as a photographer. I was lucky because the notion of noise exists in photography. To start with, I bought a Nikon D7000 and joined a photo club whose members had a lot of experience and good advice. TPL: Tell us the story behind the series of images that you have sent to us. What do you want to express with your work? NK: I walk, I photograph, I talk to the people I sometimes put in the situation, I laugh. My photographs don't have to tell anything special, by its nature a portrait already gives off a lot of emotion. However, I always look at what is happening in the viewfinder of my camera. My eyes tell me if it's okay. Note that while I like photos that are simply beautiful and decorative, I do not reject those that tell a story. I've stopped photographing the homeless, it's too easy and I have no lessons to give. I prefer to give them $2 or a bowl of soup. TPL: What have been some of your favourite memories or moments in your photography journey thus far? NK: I will tell you about a moment with a London policeman I wanted to photograph. He was very playful and had a typical English humour. I felt that my camera was a remote control for him and only for him. I could ask him to do anything, even to jump in with both feet. I swear it wasn't Mr Bean. TPL: Do you have any favourite artists and photographers? NK: Robert Doisneau, Stanley Kubrick, Frank Horvat, Dennis Hopper, Léonard Misonne, Peter Lindbergh, Brassaï, John Bulmer, William Claxton, Bruce Gilden, Robert Frank, Lee Friedlander, Larry Fink, Walker Evans, Elliott Erwitt, Alice Springs, Chuck Close, René Magritte, Salvador Dali, Renoir, Piet Mondrian, J.M.W. Turner, Victor Vasarely, Paula Raiglot, Driving Dead Girl, Séverine Day, Hammer-Jam-Her,The Kinks, The Ramones, Cosmic Psychos, The Monsters, Ennio Morricone, Frank Sinatra, Rock garage, Punk-Rock, Hardcore, Alternative rock, Tim Burton, Alfred Hitchcock, Steve McQueen, Clint Eastwood, Burt Lancaster, Charles Bronson, Louis de Funès, Bourvil, Jean Gabin, Alain Delon, Jean-Paul Belmondo, Bernard Blier, Brigitte Bardot, Diana Rigg, Benny Hill, Jerry Seinfeld, Rik Mayall & Adrian Edmondson (Bottom), Marc Jolivet, Robin Pourbaix,... I walk, I photograph, I talk to the people I sometimes put in the situation, I laugh. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? NK: Peter Lindbergh, just great. I'll watch, I'll listen, I'll learn. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? How much post-processing do you do? NK: My favourite camera at this moment is the very versatile Nikon D750, perfect for me. I keep an eye on Fujifilm's medium format cameras, not just a dream, I hope. I always look for contact, proximity with people, I always face them. Therefore, a 24-70mm f2.8 lens and a 35mm lens are largely sufficient. I also use the 24-70mm when I take pictures during concerts. A 85mm lens is my maximum limit in studio photography (portrait, fashion photography). A 70-200mm f2.8 lens? Why not but rarely because I don't have this lens. For street photography, I sometimes use a cobra flash if it's absolutely necessary or to satisfy an artistic intention. I have 2 x « Elinchrom ELC 500 monolight studio flash » + many light shapers. I use Lightroom to develop my RAW files, I use Photoshop for retouching and editing. TPL: What are your goals as an artist or photographer? Where do you hope to see yourself in five years? What do you see as the next chapter in your exploration for future projects? NK: Let's just say I'll stop taking pictures when technology allows us to take perfect photos with our own eyes. Just to say, look Blincam in 2016, a wearable camera which attaches to any pair of glasses. It lets you capture the moment instantly by a wink, or a blink. There's already a race to develop technology for the contact lenses of the future. Medically it will be great, but artistically it won't be fun for me. We will be in the world of fast and effortless photography. In five years' time, I will of course still be there. The pandemic is constraining but I want to do new exhibitions. I also hope that my online shop will be successful. The large prints I sell have a really nice quality (piezography or chromaluxe). I don't sell worldwide. For the moment I only sell where I can deliver myself, so mainly in my Belgium. TPL: When I am not out photographing, I (like to)… NK: When I'm not out photographing, I like to listen to music, play guitar for myself...let my imagination go. As a very sociable person and able to talk to everyone, street photography for Noisy Kid is an artistic discipline that he practices simply. Make some noise and connect with Noisy Kid below. VIEW NOISY KID'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.

CANDID OBSERVATIONS Street photography for Lasse Persson is an art of observation and a photographic statement about the human condition. CANDID OBSERVATIONS December 18, 2020 INTERVIEW PHOTOGRAPHY Lasse Persson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE When it comes to capturing beauty in the ordinary, few can rival the work of Swedish photographer Lasse Persson. With over four decades of experience as a press photographer, Lasse has developed a unique and powerful style of street photography that seeks to capture the extraordinary, humorous, and absurd moments in everyday life. His works are a moving testament to the human condition, inviting us to observe and appreciate the hidden beauty in the seemingly mundane. Join us as we explore the captivating art of street photography through the lens of Lasse Persson. “I started to work as a press photographer when I was 19 years old. I overcame my timidity which later has been an advantage for me in my street photography since I don’t have problems with approaching people. Street and press photography have a lot in common...they are both about observation, to have a keen eye and an interest in people to be able to tell a story in a single picture.” IN CONVERSATION WITH LASSE PERSSON THE PICTORIAL LIST: Lasse, please tell us about yourself. When did you become interested in photography? LASSE PERSSON: I was born in Malmö located in the southern part of Sweden but I have been living in Stockholm for quite many years now. I also lived in Los Angeles for some years back in the 1970s from where I worked as a freelance photographer for Swedish newspapers and magazines. Became interested in photography already at the age of 10. I received a camera as a gift from my uncle and soon after, I became a member of a photo club. Due to my young age, I got a mentor who taught me the basics of photography, how the camera works, the technology, and how to develop film and make prints in the darkroom. TPL: Where do you find your inspiration to photograph? LP: I find my inspiration from traveling and watching people on the streets but also from other photographers. All streets wherever they are, inspires me. I especially I like the streets of Stockholm but also in many different Spanish cities were I love to walk the streets with the camera in my hand and with open eyes. 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? LP: The human element is essential in my pictures. I want my pictures to reflect a curiosity about people and show people in everyday life which can be humorous, absurd, extraordinary and much more. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? LP: I have many favourite photographers like Elliott Erwitt, Henri Cartier-Bresson, W. Eugene Smith, Robert Doisneau, Peter Turnley, Peter Kool and many more. But the photographer who’s style inspired me the most when I was a young and avid photographer traveling around Europe in the 1960s was Tony Ray Jones. He made a fantastic book 'A day off' about the English people just before he died of cancer very young. 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? LP: I have always and still am unimpressed by cameras and equipment. I have a camera that I am comfortable with that is light and that I can hold in one hand to be ready to snap. The camera I use is a Nikon D3500 with a zoom 18-105 mm, mostly I use it at 18 mm. This camera gives me a picture quality that I’m happy with…. but the most important tools are my eyes, not the camera. I love to walk the streets with the camera in my hand and with open eyes. TPL: Your photos show people in Spain, France, and your home country Sweden. Do you have a favourite place(s) to photograph in? LP: Yes, I like to travel and have done so all my life. Nowadays, my wife and I travel around in Southern Europe with our motorhome for about 6 months every year and have been doing so for quite a many years now. It gives me great opportunities in my street photography to get to new places and cities, which is very inspiring. I particularly like to shoot in Spanish cities such as Malaga, Murcia and Valencia. TPL: When you go out on the streets, do you have a concept in mind of what you want to photograph, or do you let the images just "come to you", or is it a combination of both? LP: I let the images just 'come to me'. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? LP: To continue to shoot on the streets and to stay alive for five years more. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LP: I am preparing for my first solo exhibition which I hope will taking place in a gallery in a gallery in Stockholm in August or September 2021. TPL: "When I am not out photographing, I (like to)… LP: Travel with our motorhome and much more." Through the lens of Lasse Persson, we can experience the beauty of everyday life, and gain a greater appreciation for some of the most extraordinary and humorous moments in our lives. His work speaks to the power of capturing the ordinary and invites us to take a closer look at the world around us. To explore more his captivating street photography, connect with Lasse Persson through the links below. VIEW LASSE'S PORTFOLIO Lasse'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.

PICTORIAL STORY THE GOLDEN HOUR OF HAITI Inspired by the relationships she’s formed, Vanessa Cass has become gently woven into the fabric of life in Haiti — each connection adding depth to her journey and hers to theirs. November 5, 2021 PICTORIAL STORY photography VANESSA CASS story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Vanessa Cass is a single mother of two that has been living and working in Haiti for over twenty years, who has an outrageous passion for street photography. What brought Vanessa to Haiti, was an unfortunate set of circumstances. Vanessa was seven years old when she came to live in Haiti with her mother, older sister, and brother after her mother and father’s abusive marriage ended in a difficult divorce. Vanessa’s mother uprooted her three children and moved from Silver Spring, Maryland in the United States, to Haiti where her grandmother took them in. It has not always been easy assimilating into the culture, Vanessa was viewed as an outsider for many years, still feeling at times she is a square peg in a round hole, Vanessa has softened those corners and has found inspiration in the connections she has made, becoming a lovely thread in the colorful tapestry of Haiti. The Caribbean Island of Haiti has had a turbulent past, much like Vanessa’s. Originally inhabited by the Taino Kingdom, history changed on the then Island of Hispaniola when Christopher Columbus landed on its shores on December 6, 1492. Over the years of European exploration and exploitation, Spanish, French, African and American influences, it wasn't until 1804 that the Haitians took their independence back. Haiti has been plagued throughout history with natural disasters causing catastrophic destruction, combined with the political unrest creating many challenges for the people living there, poverty being one of the many effects they face. In spite of all of these harsh realities, Vanessa sees another country, one that enchants her and inspires Vanessa’s dramatic photographic style of work. Vanessa says, “Haiti is a country bursting with art, culture, music, food, a lot of faith, with a little bit of Voodoo.” A Jack of All Trades , Vanessa has found herself adapting to the changes in her country and it has actually given her the opportunity to explore many different career paths. She grew up in her family's antique business, and as an antique dealer she learned many things that helped to shape her future. Vanessa dabbles in painting, writing, curating, graphic design, and most recently opening a gourmet finishing salts and small batch hot sauce business. All of these passions bring Vanessa a great deal of pleasure. Vanessa told me “One day it dawned on me that I didn't have to limit myself to just doing one thing, art, photography, cooking, curating, writing, graphic design, I realized I could actually do everything all at the same time, and so I do!” Vanessa believes it helps to stay busy. So where did Vanessa find her passion for photography? Vanessa started studying art and was classically trained by the painter Roland Dorcely, who was himself trained by Pablo Picasso. Dorcely told Vanessa, “Painting is not your milieu, you do have talent but there is another part of the art world that is better for you, and everything you have learned with me will serve you when you find it.” Vanessa did find her art through photography. The inspiration for Vanessa’s work is reflected in her statement, “Faith is what gives the people of Haiti an incredible resilience to rise above and deal with a life that is difficult for anyone to understand that has not experienced life’s hardships. It shows in their impeccable starched and pressed clothes for church on Sunday mornings. It shows in the care they take in setting up their makeshift shops, shoeshine stands, and much more. This is the time of Golden Hour , when I like to walk the streets and observe. The shadows at this time of day are amazing and seem to have a life of their own. They tell a magical story that can't be heard but is felt. It shows you how strong, beautiful, and wild the people of Haiti are.” After looking at her mentor Roland Dorcely’s paintings, I saw a familiar quality in Vanessa’s work. The contrast in images, the hot bright light of the sun, and the deep darkness of the shadows, the faceless people are often reflected in Vanessa’s photographic work. Looking back on it she realizes the impact he had in her life. Vanessa’s first camera was from a friend and street photographer, and her first workshop was with Eric Kim. Once she had an eye for the street, there was no turning back. Historically Haitians really don't like to be photographed. Vanessa respects their beliefs and traditions and has developed her own style of shooting, stepping back to take in the larger view and to allow her subjects respectful space. Vanessa photographs her subjects in stride against textured walls of light and shadow. Vanessa admits, “Sometimes I get caught, get yelled at, but with a smile and a compliment, I usually get let off the hook, and they don't mind so much.” Vanessa’s photographs embrace the contrasts reflected in life on the street. The bright angelic white, not only familiar but comfortable with the darkness, not afraid of it, the darkness is as much a part of them as is the light. The mood changes in Haiti to reflect current events in the country. “When things are going well you can see it,” says Vanessa, “Everyone is smiling, there’s a pep in everyone’s step. When there is unrest or a catastrophe, the mood is very gloomy, but their resiliency is the strength that keeps the Haitians marching on”. Vanessa has lived, seen and photographed many things in the streets of Haiti. Being a single mother raising two children in Haiti has had its difficulties. Her family has witnessed horror, and tragedy, but they have found their own strength and resiliency from the people that have become their home and community. © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass Haiti has made Vanessa tough, wise, empathetic, yet at the same time strong, and determined to fight for change. Photography and the Haitian people have been a constant source of inspiration for Vanessa and is why she is proud to call Haiti her home. This is not an ending to Vanessa’s story, there are many chapters to come. Vanessa is currently getting her degree in art history with a concentration in postmodern photography and will continue to share her art and unique style as an inspirational woman artist and photographer. view Vanessa's portfolio Read an interview with Vanessa >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape. CLAY AND ASHES Abdulla Shinose CK explores the challenges faced by Kumhar Gram's potters, balancing tradition and adaptation in the face of modern pressures. ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle Coordes brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience.