PICTORIAL STORY HURTFUL TRADITION March 12, 2021 PICTORIAL STORY Photography by Jason Shipley Story by Karin Svadlenak Gomez SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Jason Shipley is a British documentary photographer from Kingston upon Hull. When Jason traveled to Kenya, he made an effort to get to know one of the most remote and rarely visited tribes, the Pokot. They live a very hard life, he told us, and he was truly impacted by what he learned about their way of life. One of the hardest things to deal with was the issue of female circumcision, which, although outlawed, is still being practiced. Some of the girls manage to escape this painful and dangerous tradition. In Jason's photos he tells the story of one such girl, and the people from her community. The Pokot people live in West Pokot County and Baringo County in Kenya and in the Pokot District of the eastern Karamoja region in Uganda. Jason Shipley visited this area, which is hardly visited by tourists, for a photo reportage. Road networks and infrastructure of the Pokot community are poor, so travel within the region and to the region is time-consuming. To visit you need the tribal elders' permission. For Jason the harshness of these people's living conditions, and the fate of many young girls was emotionally quite overwhelming. Although officially illegal in Kenya, many girls in this ethnic group are still subjected to female genital mutilation (FGM). Jason was able to visit and speak to several girls, some who had escaped this fate with the help of local Non-government Organisations (NGOs), and some who had not. FGM can lead to severe pain, bleeding and tetanus or sepsis and other infection and wound issues right after the procedure, and in the long run it can cause recurrent bladder and urinary tract infections, cysts, an increased risk of childbirth complications and newborn death. The women often experience pain during sexual intercourse. Gladys had her baby with problems because, as it turned out, she had already had FGM before. Gladys did receive an education at the school as well, but the school was not aware that she had had FGM. Eleven hours after giving birth Gladys sat her school exam in the maternity hospital, in pain. The rules state she had to wear her school uniform, and because of her pregnancy she was obviously bigger, and the clothing was too tight. In societies where FGM is practiced, it is usually justified by upholding tradition and by the threat of negative social consequences for girls if they are not circumcised, foremost not being able to find a husband. FGM is also considered an important rite of passage into adulthood. In the Pokot community, girls are cut when they are between 10 to 17 years old. The Pokot regularly disregard the legal prohibition of female circumcision. To be clear, this is a practice that is not only inflicted on girls by the Pokot, but also widespread, mainly in African countries. The UN estimates that more than 200 million girls and women in 30 countries in Africa, the Middle East and Asia have been circumcised. In the Pokot community early/child marriage or forced marriage of female girls with elderly men is also a common practice. It is customary for families to receive a bride price. According to Jason, the price for a bride who has had FGM was 25 cows, plus 2 cases of soda and bags of sugar. Girls who had not had FMG would earn the family only 15 cows. To put this into context, the average wage in Pokot per day is the equivalent of US$2. The poverty is extreme in the area. Most people live in huts or tin houses without any insulation from heat and cold and no running water or toilets. There are several international and local charitable or development organisations who are trying to educate Pokot communities about the harms of the FGM practice, and who offer an alternative through education opportunities for girls. Jason visited the British charity One Woman at a Time, which was started by Jean Anderson a retired midwife from Lancashire, that is helping as many girls from the Pokot region as they can to get schooling and to help the villages with poverty reduction. The organisation also has programmes to educate the fathers, brothers and sons about the hazards of FGM, trying to change mindsets. Another organisation, The Girl Generation’s End FGM Grassroots Fund, has also been trying to educate communities to give up FGM, introducing the idea of an alternative rite of passage celebration in combination with graphic explanatory videos and witness statements from circumcised women. This appears to be having an impact, and one can hope that such efforts will eventually spread across the entire community. Through One Woman at a Time organisation Jason met Salome, who has been able to find a better life. Salome was to marry an old man who already had three wives, and her parents planned on cutting her, but Salome overheard the conversation, and she ran away across the mountains. She was able to go to the boarding school in Ortum, where girls who find a sponsor can receive an education and escape FGM. Salome has since found her own partner and has a baby now. She ended up studying at Mount Kenya University. For her, getting an education was life changing. "She has her own life and choices now," says Jason. All the girls One Woman at a Time sponsors get to go to school for free, the only condition being that the parents do not circumcise them. Next to the school sponsored by One Woman at a Time is a clinic where the girls can give birth. That way, they can deliver their babies safely and also continue their education. Gladys had her baby with problems because, as it turned out, she had already had FGM before. She has just given birth to the baby. Gladys did receive an education at the school as well, because the school was not aware that she had had FGM. © Jason Shipley Eleven hours after giving birth Gladys sat her school exam in the maternity hospital, in pain. The rules state she had to wear her school uniform, and because of her pregnancy she was obviously bigger and the clothing was too tight. © Jason Shipley Pokot people in their traditional dress. © Jason Shipley A Pokot woman with her baby. © Jason Shipley Salome in her village © Jason Shipley Salome's parents and brothers © Jason Shipley Jean Anderson © Jason Shipley The school Jean Anderson's organisation sponsors. © Jason Shipley The school Jean Anderson's organisation sponsors. © Jason Shipley The school Jean Anderson's organisation sponsors. © Jason Shipley Next to the school sponsored by One Woman at a Time is a clinic where the girls can give birth. That way, they can deliver their babies safely and also continue their education. © Jason Shipley © Jason Shipley © Jason Shipley Salome with a friend at Mount Kenya University. © Jason Shipley Merci Lollimas © Jason Shipley There are other girls who are not as lucky. Despite legal prohibitions in Kenya, FGM is still very widely practiced, and the old cultural norms have a stronghold in the Pokot community. “It was traumatic and sad what I witnessed,” says Jason. “I’ve worked in Africa for over ten years in some of the world’s poorest countries, but I never expected the harsh lives of the Pokot people in Kenya, a country where Europeans enjoy their holidays.” view Jason's portfolio Read an interview with Jason >>> Read the story "COMRADES FOREVER" >>> Sources used in story - Das, Amal & Harun, Golam Dostogir. (2015). Female Genital Mutilation: From the Life Story of Girls in Remote Villages Pokot County, Kenya. Journal of Child and Adolescent Behaviour. 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I am an unrecognized, unfeted, and unknown photo-enthusiast. You won't find me writing about myself in the third person, listing the publications whose pages I have enlivened by my work or giving a catalogue of the equipment I have used. I do not classify myself as any one type of photographer. I simply want to share my experiences in different settings and locations. NEVILLE NEWMAN I am an unrecognized, unfeted, and unknown photo-enthusiast. You won't find me writing about myself in the third person, listing the publications whose pages I have enlivened by my work or giving a catalogue of the equipment I have used. I do not classify myself as any one type of photographer. I simply want to share my experiences in different settings and locations. LOCATION Hamilton CANADA CAMERA/S Canon 7D and 7D Mkii, Mamiya 6 WEBSITE http://nfnphoto.com/ @XSBMRNR FEATURES // Wildcats Winning Women Tomorrow's A Mystery

WITHIN WITHOUT Neil Johansson wanted to document not just the empty shop spaces themselves, but the interplay between them and their surrounding world. WITHIN WITHOUT August 10, 2020 INTERVIEW PHOTOGRAPHY Neil Johansson INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photography has long been a way to capture moments, emotions and places that otherwise may have gone unnoticed. For British street photographer Neil Johansson, it was a passion to document the everyday lives of urbanites and their forgotten spaces. But what Neil found was that these spaces weren't as empty as they seemed. Through his lens, the reflections of the surrounding world and the people inhabiting it were revealed. Spanning from towns to cities across England and Wales, Neil's images tell a story of our ever-changing world - a familiar scene with which we have become all too familiar. In this interview with Neil, we delve deep into his journey as a photographer, the lessons he has learned, and ultimately the powerful insight he has gained from his captivating photography. It's an exploration into the life of a street photographer - a journey worth taking. “High streets have always been places where you could do your shopping in many and varied independent shops. Recently however, large supermarkets have been built on the outskirts of our towns and as a consequence, with their huge car parks and the ability to buy everything you need in one place, the small independent shops of our high streets have suffered. In addition the rise of online shopping has contributed further to their demise. This has led to empty spaces that often remain unfilled. The sad truth is that months and indeed years can go by before they are occupied again.” IN CONVERSATION WITH NEIL JOHANSSON THE PICTORIAL LIST: Neil, when did you start getting interested in photography? NEIL JOHANSSON: I took photography for A-Levels at School. But it was only after university I seriously got into photography. I just started walking around my town with my camera. In 2013 I won a place on Goldsmiths’ International Urban Photography Summer School which took place in 2014 and I never looked back. TPL: Where do you find your inspiration to photograph? NJ: When I started I tended to take photos of anything that caught my eye, it’s only later on where I’ve really looked at other art works for inspiration. Subsequently I’ve found my inspiration from films, a lot my work is inspired by film noir and neo noir. Also I’ve been inspired by paintings and album artwork. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NJ: At first I was more inspired by artists, Edward Hopper in particular. But I subsequently started looking at other photographers work. Saul Leiter has been a big influence on me as has filmmaker and artist David Lynch, in terms of unusual composition and capturing atmosphere respectively. TPL: Has your style of photographing changed since you first started? NJ: When I started I tended to shoot quite a lot, filling SD cards easily. I have become much more focused now, I instinctively know what I’m after. TPL: Where is your favourite place to photograph? NJ: I have a few places I like. Chester is one of my favourites, it’s really great for getting noir images. Rhyl, my home town, is another, there’s just so many aspects to it, almost like having different zones and it is again great for capturing noir shots as the light is often really good. Intuition is the key to everything, in painting, filmmaking, business – everything. I think you could have an intellectual ability, but if you can sharpen your intuition, which they say is emotion and intellect joining together, then a knowingness occurs. - David Lynch TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone else just starting out? NJ: To some extent you need a decent camera to get the shots, but really it’s about the eye. So to begin with the best thing you can do is grab a camera and start shooting, and just keep on shooting as often as possible. By doing that you work out what you like and what you don’t like, you become more focused after a time and suddenly you find you’ve developed a style. TPL: What characteristics do you need to become a 'good' street photographer? NJ: Patience is certainly a very important quality to have. You’re not going to get those great shots straight away, as with anything worthwhile it takes time. It’s very important to keep going and not to give up and to enjoy the process. TPL: Have you ever been involved in the arts before photography? NJ: Not as such. I did Art for GCSE and A-Level. My mother was Head of Art at my School and I learned a lot about art from her. She even showed me how to use Photoshop when I was starting out. TPL: Are there any special projects you are currently working on? NJ: I am working on several projects. I have produced a zine of my work called Rhyl Noir, which features black and white noir shots of my hometown. This is ongoing. I am also working on Noir By Northwest, which is again black and white noir shots but of towns and cities across the Northwest of England. Lacuna is another project about capturing gaps in life, things that are overlooked or very brief moments in time. This is in its early stages. Within-Without is also ongoing, and I hope to produce a zine as soon as possible. TPL: If I wasn't photographing what would I be doing?... NJ: I think I would have ended up doing something creative, it’s in my nature. I’m just not sure what that would have been. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. 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I am an art photographer in Phoenix, Arizona. I have been highly creative since childhood, making art in various mediums. I have always had a camera and an interest in photography. In Camera Movement (ICM) photography, which utilizes techniques where the camera is intentionally moved during the exposure to create painterly and abstract artistic effects, allows me to create abstract art with my camera. I am inspired by lines and textures, colors and shapes and create art that inspires emotional response. ICM photography inspires me to see, feel and think differently and interpret my surroundings in a new and unexpected way. AMY NEWTON McCONNEL I am an art photographer in Phoenix, Arizona. I have been highly creative since childhood, making art in various mediums. I have always had a camera and an interest in photography. In Camera Movement (ICM) photography, which utilizes techniques where the camera is intentionally moved during the exposure to create painterly and abstract artistic effects, allows me to create abstract art with my camera. I am inspired by lines and textures, colors and shapes and create art that inspires emotional response. ICM photography inspires me to see, feel and think differently and interpret my surroundings in a new and unexpected way. LOCATION Arizona UNITED STATES CAMERA/S Olympus OM-D E-M1 Mark III WEBSITE http://www.anmcconnel.com @ANMCCONNELPHOTOGRAPHY @ANMCCONNELPHOTOGRAPHY FEATURES // Multiplicity Flux: Exploring Form, Luminescence, and Motion Reimagining Taliesin

FARAH'S CHARIOT Carla Henoud is a journalist and a photographer who captures sweet sceneries set on Beirut's famous Corniche that show her love for this place. FARAH'S CHARIOT March 25, 2021 INTERVIEW PHOTOGRAPHY Carla Henoud INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Life itself can be beautiful but for those that get a chance to experience the beauty that is Beirut's Corniche, there is something magical about it. Carla Henoud has been fortunate enough to capture this magic in her photography and has dedicated her last three years to documenting this stunning place with her lens. The result of these efforts have been exhibited in a gallery and published in a book, 'Le Chariot de Farah' in 2018, and it has been a testament to the beauty that Carla has seen in the Corniche. Her photos capture the picture-perfect scenes of the Corniche, full of life, with its picture-perfect blue skies and its people. No matter who is viewing Carla's work, the emotion that she has captured in her photographs is undeniable. “As a reporter, I had the opportunity to interview a man called Ali who used to work on the Corniche and sell orange juices on a wooden cart, as his father and grandfather used to do. But the authorities forced him to stop and destroyed it. As I was taking pictures of this and Corniche for about 3 years and had important material and archives I could use, I decided to write my own story inspired by Ali's. Most pieces of the story and the characters are taken from my own family, and I replaced Ali with Farah, a young woman working in a man's 'field'. 'Le Chariot de Farah' starts in the 60's and ends in 2018. It describes perfectly what Beirut was and still is. Or maybe what we are fighting for, keeping it a mixed city where people from different backgrounds and religions can live together peacefully.” IN CONVERSATION WITH CARLA HENOUD THE PICTORIAL LIST: Carla please tell us about yourself. How did you become interested in photography? CARLA HENOUD: I was born in Beirut, Lebanon. Lived for ten years in Paris, France, during our 'civil' war, and came back home late 90’s. I started taking pictures at 16 years old, with my Canon AE1. Then I studied advertising at the Lebanese Academy of Art (ALBA) and developed this passion since then. As a journalist, photography became also part of my work, as it tells story as well as my words do. TPL: What is it that you enjoy about documentary photography? Explain your technique? What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? CH: I find it challenging to go to the same place and discover new things about it. That same place is like my theater; it is the same background with different characters, variant lights, various stories, etc. The corniche by the sea, in Beirut, is my place of choice; it probably is the only spot in Lebanon that reunites people from different social classes and religions, in perfect tolerance and harmony. This is how Lebanon should be! Apart from its symbolic aspect, the corniche is also the scenery I always like to capture at all hours and in different seasons. It includes everything I choose to have in a picture: the sea, the sky, the human element and the street. It is urban and nature photography in one. Therefore, my personal challenge is to ‘cast’ the right human element at the right time in this existent scenery. I have been doing this for five years now before issuing the Book “Le Chariot de Farah” in October 2018. As for the technical part, I always carry light cameras to move easily. I also use wide angles and/or 50mm. No zoom lenses! I prefer getting closer to my subject, establish a quick contact, build trust that might lead to a conversation. No photoshop ever! I remain as close and intimate as possible to what I see. The angle I choose to snap the picture will make the difference. Being a journalist and a photographer, my purpose is to tell stories through my lens and share (new) emotions. TPL: What is it like photographing on the streets of Beirut? How has the pandemic affected you personally and your photography? CH: I enjoy going to the same place over and over again (the Corniche) and I always find inspiration. Always able to find and show something new, to discover new people, to meet others that I discovered during all these years and listen to their stories. And share all that. The sky, the sea, a person, are very important in my pictures. And most of all emotions. Beirut is a living city, so many beautiful and sad things are happening there since 2019. It’s a beautiful destroyed city one can only be passionate about. I love its old buildings, windows, people, sea. I love to find and show beauty in ugliness. It gives hope… During the pandemic, and different lockdowns (currently in a lockdown at time of interview) streets become empty and the sky, the shadows, the colours are so pure. I just miss people… TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CH: Henri Cartier-Bresson, "un classique” who was able to take great pictures with his 50 mm lens and no photoshop (which I never use). I like also Bruce Gilden, Robert Frank, Vivian Maier, Joseph Koudelka, Martin Parr, Seydou Keïta (even if his pictures are mostly in a studio). TPL: When you go out photographing, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? CH: When I go out, all my senses are wide open (like a cat!) and just waiting and hoping for the encounter. In the back of my mind, I am always looking for places, people, a mood and a story. “Keep walking” is a motto I often bring back to help me cope with what we Lebanese are going through for so long and especially these last two years. 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? CH: I use a Leica D-Lux, a Fujifilm W-T1 and a Sony. Some are good because, also, they are light and easy to handle. Some are too complicated for street photography where you don’t have time to adjust. I prefer wide angles or a 50mm lens. TPL: Have you ever been involved in the creative world before photography? CH: At school, in Paris, I made a short movie with friends (Super 8). A friend, Stephane Drouot, was playing the role of 'director'. He became famous a few years later and got a Cesar for a short movie he wrote and directed late 80’s. He unfortunately passed away… TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? CH: My goals are to sharpen my eye and emotions even more, to always improve myself and always be surprised by what I do and what I see. I need, now more than ever, to always seek for beauty during these hard times the world and we Lebanese are going through. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? CH: After my first book 'Le Chariot de Farah', a fiction with pictures of the Corniche, issued on October 2018 with an exhibition in Beirut, I am planning to do something more with it, as a series or a movie (with of course the help of professionals in this industry). And then start another personal project where I can mix writing and photography. Let’s hope we will have better days in Lebanon to be able to do so… TPL: When I am not out photographing, I (like to)… CH: Write. Travel. PORTFOLIO INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection.

I don't consider myself a photographer, but an interpreter of photography. I was born in Frattamaggiore (Naples) Italy in 1964, and I live in the province of Reggio Emilia. I am a self-taught photographer and a Member of Merit at the International Academy of Modern Art in Rome. My photographic works are in the collections of the Italian War History Museum in Rovereto, the Reggio Emilia Civic Museums, and the RosPhoto State Museum in St. Petersburg. Some of my projects are also held at the Archive and Communication Study Centre (C.S.A.C) at the University of Parma. I am the creator, co-founder, and curator of the Artistic Photography Exhibition Montecchio Fotografia – La luce scritta. I have published three photo books with Corsiero Editore: La bellezza perduta, Otto ore, and Reggio e i colori dell'Emilia. My poetry has been included in anthologies of unpublished works that have won national literary competitions. ENZO CRISPINO I don't consider myself a photographer, but an interpreter of photography. I was born in Frattamaggiore (Naples) Italy in 1964, and I live in the province of Reggio Emilia. I am a self-taught photographer and a Member of Merit at the International Academy of Modern Art in Rome. My photographic works are in the collections of the Italian War History Museum in Rovereto, the Reggio Emilia Civic Museums, and the RosPhoto State Museum in St. Petersburg. Some of my projects are also held at the Archive and Communication Study Centre (C.S.A.C) at the University of Parma. I am the creator, co-founder, and curator of the Artistic Photography Exhibition Montecchio Fotografia – La luce scritta. I have published three photo books with Corsiero Editore: La bellezza perduta, Otto ore, and Reggio e i colori dell'Emilia. My poetry has been included in anthologies of unpublished works that have won national literary competitions. LOCATION Naples ITALY CAMERA/S Olympus E-M1 WEBSITE http://www.enzocrispino.com/ @ENZO.CRISPINO FEATURES // Eight Hours Island

I am a visual artist, born and raised in Tenerife, with a deep passion for travel, street, social-documentary, conceptual, and pop art. My work is heavily influenced by the vibrant and ever-evolving pop culture that surrounds us. To express my fascination with this culture, I have delved into different mediums such as photography, video art, writing, and collage. I am also a contributor to various media platforms, using my words to further explore this world that captivates me. My greatest sources of inspiration are my travels and the people I meet along the way. As an artist, my goal is to tell stories through my camera, creating a continuous narrative that reflects my experiences and encounters. Beyond my artistic pursuits, I am a philologist and a secondary school teacher. Despite my formal education, I am a self-taught visual artist. However, I have honed my skills through a two-year advanced photography course and another in cinema and television. My works have been showcased in numerous international exhibitions, festivals, and cultural events, gaining recognition and acclaim worldwide. Publications have featured my work, solidifying my presence in the art world. Currently, my focus is on documenting identity and promoting the message of the Latin phrase "Carpe Diem" through my art. Recently, I was honored to receive the prestigious Rafael Ramos García International Photography Award. On my blog, Pop Sonality, I share my art and cultural experiences with the world, hoping to inspire others to embrace and celebrate their unique identities. SEIGAR I am a visual artist, born and raised in Tenerife, with a deep passion for travel, street, social-documentary, conceptual, and pop art. My work is heavily influenced by the vibrant and ever-evolving pop culture that surrounds us. To express my fascination with this culture, I have delved into different mediums such as photography, video art, writing, and collage. I am also a contributor to various media platforms, using my words to further explore this world that captivates me. My greatest sources of inspiration are my travels and the people I meet along the way. As an artist, my goal is to tell stories through my camera, creating a continuous narrative that reflects my experiences and encounters. Beyond my artistic pursuits, I am a philologist and a secondary school teacher. Despite my formal education, I am a self-taught visual artist. However, I have honed my skills through a two-year advanced photography course and another in cinema and television. My works have been showcased in numerous international exhibitions, festivals, and cultural events, gaining recognition and acclaim worldwide. Publications have featured my work, solidifying my presence in the art world. Currently, my focus is on documenting identity and promoting the message of the Latin phrase "Carpe Diem" through my art. Recently, I was honored to receive the prestigious Rafael Ramos García International Photography Award. On my blog, Pop Sonality, I share my art and cultural experiences with the world, hoping to inspire others to embrace and celebrate their unique identities. LOCATION Tenerife SPAIN CAMERA/S Nikon D610, Fujifilm X30 WEBSITE http://seigar.wordpress.com/ @JSEIGAR @JSEIGAR FEATURES // Tales Of A City

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. POINTE-AU-CHIEN IS NOT DEAD Survival of an Indian tribe in South Louisiana June 1, 2025 INTERVIEW PHOTOGRAPHY Wayan Barre INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Photographer Wayan Barre returns to The Pictorial List with another powerful body of work that deepens his commitment to telling the stories of marginalized communities and environments under threat. Based in New Orleans, Wayan is drawn to places where cultures collide, where history and identity are at risk, and where resilience is not a choice — but a legacy. With a practice resonating with compassion through visual storytelling, his photography brings light to voices too often left in the shadows. Wayan’s visual narratives are authentic and captivating, defining the complexities of the communities they portray. Southern Louisiana, USA. The region and its population are at the forefront of environmental disasters. The Pointe-au-Chien Indian Tribe is a French-speaking Native American community of 850 members, living down the bayou. For generations, they have faced existential challenges, from protecting their homes against hurricanes, storms, flooding, and land loss to defending their legacy and culture. The annual hurricane season has started, and they are prepared for it. With the help of scientists, researchers, landscapers, geologists, lawyers, activists, and volunteers, the tribe is looking for ways to fix the past and prepare for the future. This documentary tells the story of the unprecedented crises and the constant efforts to protect homes as well as traditions. What this community is experiencing today could give us keys to tomorrow's challenges. Wayan’s photographs are not just records of loss — they are windows into survival, dignity, and the will to remain. By documenting the lives and lands of those on the front lines of climate change, his work invites us into a larger conversation about displacement, preservation, and the fight for cultural continuity in the face of erasure. In this follow-up interview, we explore Wayan’s evolving perspective as a photographer, the layered stories behind his photographs, and the meaningful relationships he has formed with the people who inhabit these fragile yet fiercely defended spaces. His work stands as a bridge — between past and future, between community and audience, and between image and action. “Reading about climate change is one thing; witnessing it unfold around you is something else entirely. When roads flood year after year, when families are forced to leave, when land you once stood on becomes open water — it becomes impossible to ignore. Living in New Orleans has shown me that climate change is not only a scientific or environmental issue — it is also profoundly social. It reveals deep inequalities: who gets protected, who is forgotten, who has the means to recover. Through my photography, I try to make these realities visible — not just the data, but the human cost.” IN CONVERSATION WITH WAYAN BARRE THE PICTORIAL LIST: Your work often focuses on communities facing the pressures of both cultural marginalization and environmental change. What drew you back to the Louisiana coast for this chapter in your storytelling? WAYAN BARRE: I live in New Orleans, so the environmental crises along the coast are not abstract — they’re close, immediate, and visible. I was drawn back because this is one of the most fragile regions in the U.S., and yet so many of the people living here are often overlooked. My work with the Pointe-au-Chien Indian Tribe was being done as I was also documenting Cancer Alley — two intertwined stories showing different faces of vulnerability and resistance in Louisiana. The Pointe-au-Chien Indian Tribe, in particular, represents a powerful intersection of cultural resilience and climate vulnerability. Their story is both deeply local and globally relevant. TPL: The land loss at Isle de Jean Charles is staggering — from 22,000 acres to just 320. How did you approach documenting this scale of environmental devastation while honoring the people who still call it home? WAYAN: What happened to Isle de Jean Charles — located just next to the Pointe-au-Chien Indian Tribe — where many residents including members of the Jean Charles Choctaw Nation were eventually resettled further inland, became the first federally supported climate relocation in the United States. While a necessary move for safety, it also marked a rupture from ancestral land and cultural continuity. With Pointe-au-Chien, I wanted to document a different path — a community doing everything it can to resist that same fate, to stay, to adapt in place, and to protect their connection to the land before it’s too late. I try not to reduce these stories to devastation alone. Yes, the numbers are shocking, but what struck me most was how people continued to live, adapt, and fight to stay connected to their home. I approached the work with humility — spending time, listening, learning. I wanted the photos to reflect presence, not just loss. That meant showing the everyday — children playing, elders tending to the land, ceremonies continuing. It’s about life, not just erosion. TPL: What initially motivated you to focus on the Pointe-au-Chien Indian Tribe, and how did you approach building trust and mutual respect with the community throughout this long-term and deeply personal project? In your experience with the Pointe-au-Chien Indian Tribe, what have you learned about resilience and cultural preservation in the face of displacement? WAYAN: I first heard about the Pointe-au-Chien Indian Tribe when they were planning to build a French Immersion School to revive the language among their community — only a few elders still speak French. That initiative resonated with me deeply, as a French speaker myself. One day, I decided to take the road and knock at the door of their Tribal building. We talked, and an hour later, I was boarding a boat with Donald, one of the tribe’s most active members, to photograph the surrounding bayous and witness the effects of erosion. That was the beginning of my journey with them. I returned weekly — not only to document their lives and the land, but also to gain their trust, to give them the time to get used to me and my presence, and to show that I was committed to understanding their world with honesty and care. From them, I’ve learned that resilience isn’t always loud. It’s in how you pass on language, how you show up for tribal council meetings, how you teach a child to fish in waters that didn’t used to be there. It’s about honoring ancestors by refusing to disappear. This is Pointe-au-Chien, meaning “Point of the Dog”. It is also named Pointe-aux-Chênes (“Point of Oaks”). The town is surrounded by wetlands and protected by levees on each side, thanks to the Morganza-to-the-Gulf Hurricane Protection System. A gate closes the bayou during floods. © Wayan Barre Price Senior from the Pointe-au-Chien Indian Tribe has never left Pointe-au-Chien, even during the strongest hurricanes. He gave his shrimp factory to his two sons. © Wayan Barre The Pointe-au-Chien Indian Tribe is governed by a Tribal Council and their Chairman, Charles “Chucky” Verdin. © Wayan Barre During the Tribe Council, the elected members make decisions and plans to rebuild, restore and protect the land from numerous environmental disasters. © Wayan Barre Because of rising water, the tribe has had to move regularly and adapt. © Wayan Barre As an active tribal member, Donald invests most of his time in various initiatives and in raising public awareness on the challenges faced in the area. © Wayan Barre Sign stating "Pointe-au-Chien tribal land". © Wayan Barre "I lost a lot during Katrina. This is one of my last photographs." - Price Sr. © Wayan Barre Since the Hurricane Ida hit, this boat is stuck in the marsh. Its owner is waiting for help to move the boat back into the water. © Wayan Barre Jake, member of the Pointe-au-Chien Indian Tribe, stands on the remains of his house after the destruction of a tornado in 2021. He lost almost everything, and has had no insurance since 2012 due to yearly increasing premiums for the region. © Wayan Barre As do many people in South Louisiana, Elton and his mother Theresa live in a trailer loaned by FEMA (Federal Emergency Management Agency). © Wayan Barre Elton's house was damaged by Hurricane Ida in 2021 and lack of resources to fix the roof in time means the building has become completely uninhabitable due to toxic mold. © Wayan Barre Elton and Jake are both members of the Indian Tribe. Their lives have been highly impacted by hurricanes. "We'll stay here until we die." © Wayan Barre The Pointe-au-Chien Fire Station has not been rebuilt since Hurricane Ida struck. © Wayan Barre TPL: The tribe has sought federal recognition for decades, yet continues to be denied. How has this lack of formal acknowledgment compounded the challenges they face, and in what ways did you reflect this tension or injustice in your visual narrative? What challenges — ethical, emotional, or logistical — have you faced when working within communities that are experiencing such profound loss and change? WAYAN: The lack of recognition affects everything — from access to funding, to legal protections, to how their story is written into history. It’s a quiet form of erasure. The tribe is still in the process of seeking federal recognition, and the uncertainty surrounding this process only deepens their vulnerability. In the visual narrative, I tried to reflect this not through literal images of bureaucracy, but by focusing on the emotional and cultural weight of this absence — showing the strength of traditions that persist without institutional support, and the quiet determination to remain visible in the face of systemic neglect. Ethically, I’m always aware of not exploiting grief or using trauma as spectacle. Emotionally, it’s hard not to feel powerless at times. But that’s also a reason to keep going — because these stories matter and need to be told with care. TPL: What do you hope this body of work will achieve — for the tribe, for audiences, and for the ongoing dialogue around environmental and cultural preservation? What do you think the story of Pointe-au-Chien teaches us about the broader challenges of climate change and cultural preservation? What impact do you want it to leave for future generations? WAYAN: I hope it brings visibility and respect to the tribe. I hope it helps audiences connect emotionally to what can otherwise feel like abstract issues — like climate change or federal policy. The story of Pointe-au-Chien shows that these aren’t separate issues: climate justice and cultural survival are intertwined. It is also a way to raise awareness about what is happening right now — not only in South Louisiana, but in many other places across the globe. Climate change is here, and communities on the front lines are already living its consequences. For future generations, I hope these images are a record — that they show who was here, how they lived, and how they stood their ground. TPL: Has your perspective as a photographer shifted through these projects? How has this shaped your purpose or mission as a visual storyteller? WAYAN: Absolutely. At first, I just wanted to take strong images. Now, I want those images to hold space — for dialogue, for recognition, for memory. My mission has become more about creating a document that communities can use, not just something for a portfolio. It’s not just about telling stories — it’s about who gets to tell them and for what purpose. TPL: What inspires you to use your camera as a tool to highlight the social and political issues within the communities you document? Was there a specific moment or experience that ignited your passion for this kind of documentary photography? WAYAN: It wasn’t a single moment, but a gradual realization. I used to work in a completely different field. When I started photography, I was drawn to stories that weren’t being told. Meeting people who trusted me with their experiences made me understand the responsibility that comes with the camera. It’s a privilege to be let in — to people’s lives, their losses, their celebrations. That trust inspires everything I do. TPL: Your work often blends intimacy with documentary objectivity. How do you decide on the visual style and narrative structure for your projects, and what creative or ethical challenges do you encounter in telling such layered and sensitive stories? WAYAN: The style usually emerges from the relationships. I spend time with people, I observe, and I shoot only when it feels right. I try to let the tone of the work reflect what I see — sometimes it’s quiet, sometimes raw. One of the main challenges is avoiding simplification. These are complex stories with many sides. Another is consent — not just legal, but emotional. I always ask: should this moment be shared? Am I the right person to tell it? Coastal wetland loss in Louisiana from 1985 to 2010 averaged approximately a football field an hour. Key contributors are climate change, sea level rise, subsidence, storms, flooding, oil and gas exploration and levees, which cut wetlands off from land-restoring river sediments. © Wayan Barre With local volunteers, the non-profit CRCL (Coalition to Restore Coastal Louisiana) is planting cypress trees near Pointe-au-Chien to help limit the damage of future hurricanes. © Wayan Barre Isle de Jean Charles, an island next to Pointe-au-Chien is rapidly disappearing into the Gulf of Mexico due to coastal erosion and sea level rise. The island once encompassed more than 22,000 acres, but today only 320 acres remain. © Waya Barre Dominique Dardar, 60 years old, is one of the last Isle de Jean Charles residents. Like him, two other families refused to be relocated to the New Isle. © Wayan Barre The non-profit CRCL (Coalition to Restore Coastal Louisiana) and various volunteers are releasing oyster shells on the banks of the bayou. The goal here is to protect a burial mound belonging to the Pointe-au-Chien Tribe. © Wayan Barre “My factory is the last in Pointe-au-Chien. There used to be four. The price of shrimp is not what it was back then." - Pierre Dardar Jr. © Wayan Barre Alex Billiot, from the Pointe-au-Chien Indian Tribe, owns a crab factory along the bayou. Because of land loss in the area, crabs have fewer estuaries to reproduce. This has impacted the industry substantially. © Wayan Barre Shrimping is done in the bayou Pointe-au-Chien. Wild horses like to come at dusk to have company. © Wayan Barre This is the grave of Alexander Billiot, a French sugarcane farmer in the 1850s and common ancestor of the Pointe-au-Chien Indian Tribe who fathered children with a Native American woman. Billiot’s grave lies several miles down the bayou, distanced from Pointe-au-Chien because the constant land loss has forced the tribe to relocate north. It is now inaccessible to his descendants. © Wayan Barre These are the remains of Pointe-au-Chien Elementary School which closed a few years ago due to a lack of children and then was all but destroyed by Hurricane Ida in 2021. © Wayan Barre Like her tribe’s ancestors, Christine Verdin speaks Louisiana French and is determined to revive the language and preserve the culture. © Wayan Barre The numerous environmental, social, and economic challenges faced by the communities of this region are growing and weighing more heavily by the day. © Wayan Barre These horses survived the latest hurricanes by themselves. Nobody knows how. They belonged to a resident of Pointe-au-Chien a long time ago. © Wayan Barre TPL: Beyond your documentary projects, what other subjects or styles do you find yourself drawn to photographing — and how do they reflect your personal vision as an artist? WAYAN: I’m often drawn to street photography. It allows me to stay curious, to observe quietly, and to capture fleeting interactions and emotions in public space. I see it as an ongoing exercise in paying attention. Even when I’m not working on a specific project, I carry a small camera with me to photograph scenes that feel spontaneous and real. Street photography helps me sharpen my eye and stay grounded in the world around me—it’s where instinct and observation meet. TPL: Do you have a personal archive or body of work that’s just for you — images that hold special meaning but aren't necessarily meant for public viewing or publication? WAYAN: I keep a quiet archive of everyday images — of my son, my wife, my friends. I don’t take them with the intent to share or exhibit. I use a small camera to record moments that feel important to me, even if they're mundane or imperfect. TPL: What is the next story you hope to tell — an untold narrative you feel compelled to reveal, support, or bring greater awareness to through your photography? WAYAN: I’m currently working on a long-term project about the Missing and Murdered Indigenous Relatives crisis, starting with the Navajo Nation. It’s a story of loss, but also of activism, survival, and injustice. Like Pointe-au-Chien, it’s about the fight to be seen and heard, to demand justice, and to protect what matters most. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection.

THE CROWD French photographer Aurélien Bomy captured the joy of the crowd at the Goûtez Electronique when the pandemic had eased a little. THE CROWD April 8, 2022 PROJECT SPOTLIGHT PHOTOGRAPHY Aurélien Bomy INTERVIEW Karin Svadlenak Gomez Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The French amateur photographer Aurélien Bomy developed a taste for the arts at an early age. A clinical psychologist by profession, Aurélien continues an artistic practice, discovering and learning from other artists. Besides photography he also enjoys the creation of animated collages. Aurélien understands that street photography is a very different genre from other types of photography, because it captures moments that cannot be repeated and creates something that is completely new every time. Normally Aurélien likes to capture "cinematic moments" of people in their environment. For this story, however, he went down a documentary path. He captured the joy of the crowd at the event Goûtez Electronique that took place in September 2021 in Nantes, the first event of such magnitude that he attended after the pandemic-induced restrictions in France. The Goûtez Electronique offers a palette of Nantes, French, European and international DJ artists. It's a free electronic music concert with several DJ's. It lasts 8 hours on Sunday afternoons in a park near the Loire River. “It was a wonderful moment full of joy with very pleasant music, sunshine, and people were very happy to experience again a moment like this! I thought it was something not to be missed! You know! We had missed enough!” IN CONVERSATION WITH AURÉLIEN BOMY THE PICTORIAL LIST: Tell us a bit about this event. And was this the first mass event you attended after the Covid restrictions? AURÉLIEN BOMY: LA FOULE* is a series I took at an open air electronic music concert in Nantes in September 2021 on a sunny Sunday afternoon in a park near the Loire River. The event is entirely organized by volunteers of an association on their free time and funded solely by bar revenue. It started in 2006, there were usually two dates each year in the summertime until Covid. So it had been since 2019 that the event had not taken place and people where very happy! During that period the health restrictions due to Covid were less drastic and we could meet without masks as long as we were vaccinated. So people were happy to be able to meet again in such events. They were dancing and smiling. There was a peaceful and joyful ambiance. This environment was for me the perfect context to try to approach a crowd from a subjective point of view from a quite close distance, focusing on individualities and to work on portraits. For me, the challenge of this series was to bear witness to the atmosphere that prevailed at that time and place. Particularly after a long period during which meetings were restricted and these kinds of moments were very rare. But how do you convey this kind of atmosphere in photography? For this I decided to treat the crowd not as a unity, a totality, but as an incomplete collection of individualities and personalities. I chose the subjective point of view. For the challenge was to capture something of the life that occurs in one-on-one relationships in encounters in the crowd. My principle was not to turn to the stage, but to the public. To do this, I had to adopt a different posture from that which generally consists of a photographer standing back and excluding himself from the situation. So I joined the party. This is how I collected these beautiful attitudes and these many eye contacts. I was one of the others. The only difference was that I had a camera and used it to take photographs of others (just doing photography for myself, not for the event). I had been to few cultural events before since the restrictions were lifted. We have had different periods of restrictions in France: Lockdown, confinements, curfews... since the beginning of Covid crisis, but I didn't go to events of that magnitude at that time! TPL: How did it feel to you personally to be there? AB: It was a wonderful moment full of joy with very pleasant music, sunshine, and people were very happy to experience again a moment like this! I thought it was something not to be missed! You know! We had missed enough! And when I saw this atmosphere, this mood, I immediately thought that there was a testimony to do something like that! But how do you tell the story of this in photography? It's not easy! Two ways and you have to choose : The collective way or the subjective singular way! TPL: What gave you the idea that you could focus on individuals in the crowd, rather than, for example, concentrating on the musicians, as most people might? AB: I chose the way that I could tell the story of each one who had to make the sacrifice of him/herself for the collective during the sanitary restrictions. That's why I titled the series "La Foule" (The Crowd)! Cause there is a conflict between each human being and the collective! And it was a moment when we could live for ourselves in the presence of the others in a crowd! The song "La Foule" by Edith Piaf tells the story of a woman who's "carried away by the crowd"... This moment was for me a unique occasion to treat that question of the border between the individual and the collective, which is an essential theme (even in my practice as a psychologist) ! We are each unique and each of us has his/her own difference. We all dream of being one with the other, but we can´t! The crowd is the place where the dream is in conflict with that impossibility. You wanna fly, you got to give up the shit that weighs you down. - Toni Morrison, Song of Solomon TPL: You told us that you chose to process your pictures in black and white to focus on the essential. Please expand on that a bit - what do you mean by that? What would have been the disturbing element of colour? AB: I took the series in a four hour time frame, and the light changed a lot! Some of the pictures were taken with a strong daylight and others with a soft end of the day light! And there were a lot of different colours of clothing and green trees in the background! That didn't fit at all with the aesthetic that I search for! All those photos and people on them were so different! And that is what I found. That's what I wanted. But there is a need in a series to present the images in a kind of coherent way...not as a unity...not totality...but as a collection! So only the monochrome, black and white, could put all those different photos together. And maybe it fit more with my purpose of showing that duality of conflict between individual and crowd. TPL: What happened later in the year - did France go back into lockdowns as Covid-19 flared up again. what was the mood among the people like then? And your own feelings about it? AB: In November/December the Covid impact grew and restrictions were back on mass cultural events. Not strict lockdowns, but a closure of cultural places. We did not expect it! It was hard! And at the same time it imposed itself as a necessity to which we were not accustomed, but which we had already learned to deal with. TPL: How have you personally been coping with Covid restrictions? AB: I have always respected them, as I knew they were necessary for the survival of the greatest number from the point of view that considers the collective. These restrictions are an opportunity to give, through the defect they engender in the social bond, the crucial importance of one-to-one relationships and intentions directed towards a particular person, insofar as s/he is not anonymous, but has a particularity, his/her own difference from any other! To be interested in someone for what s/he has that is singular and who does what s/he is, that is what seems to me to be the important thing in social relations. *La foule is an song performed by Édith Piaf in 1957. The lyrics are by Michel Rivgauche and the music by Ángel Cabral. PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> THE VILLAGE A workers’ neighbourhood becomes a living archive as Virginia Cassano photographs the people, streets, and memories that continue to shape Villaggio Piaggio. MUTABLE MORPHOGENESIS By merging scientific methodologies with photographic experimentation, Emma Varga creates images that challenge fixed distinctions between human and non-human, visible and invisible. THE ARCHITECTURE OF CONSCIOUSNESS Chad Coombs’ Polaroids are small psychological scenes where identity, memory, culture, and belief push against each other. WHERE WE BELONG Community storytelling lies at the heart of The Pictorial List’s mission, and Marlon Ramos’ photographs reflects the spirit of the place we now call home. GUIDED BY A WHISPER Guided by reflection and the quiet presence of art history, Isolda Fabregat Sanz makes photographs that resist certainty and invite the viewer to remain inside the act of looking. WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection.

PICTORIAL STORY PEOPLE OF THE LAND By bringing the lens closer to the people who live the earth and respect it deeply, Paolo Ricca immerses himself in the memory of the weekends spent on a small piece of land owned by his grandfather. April 13, 2023 PICTORIAL STORY photography PAOLO RICCA story PAOLO RICCA introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Paolo Ricca’s photography stands out for its ability to capture the poetry of everyday life and tell stories with a documentary and artistic value. Paolo embarks on a journey to discover a territory that is close to his heart - the forgotten, rural landscapes of life. He captures the profound beauty and wisdom of people who live off the land, a reminder of his own childhood spent in his grandfather’s countryside. Through his photographs, Paolo strives to communicate the spirit of humility and determination that is rooted in the land, an ode to a value that needs respect and appreciation. His images portray a unique and vivid portrait of urban and peripheral life, without any filters or artificial light. He captures the subtle nuances of human emotion, from the fatigue and tears to the joy and satisfaction of a job well done. By using natural light and primary colors, Paolo’s art reflects an honest portrayal of life as it is, a celebration of its beauty and courage. White streets, covered with stones and gravel, shabby, rusty and half-open gates, right there, alongside the most chaotic arteries of the capital, seem to announce an unexpected guest. The infinite perspective of the orchards, the splendor of the newly turned clods in the fields, the clock that slows down and the time that suddenly seems to turn back. So, in the midst of the frenetic paths of globalization, start my journey through the unexpected and extraordinary discovery of a territory that is always present and close, a precious past that has never left me after all. By bringing the lens closer to the people who live the earth and respect it deeply, I immerse myself in the memory of the weekends spent in contact with it when, on a small piece of land owned by my grandfather, I lived intense and lively moments of my childhood. Today, like yesterday, in the hardness of the fields I find marked faces and small wrinkles, passion and sacrifices full of light. Indelible moments spent in contact with the earth, the anecdotes told by my grandparents and what then seemed to me like an incomprehensible melancholy at the end of each weekend. The bitter cold, the sun that burns, the humidity that sticks to clothes and penetrates inside, to the bone. The back is always bent, a bow and then another, once again, a dance that does not allow interruptions or complaints. Gestures and customs of distant days, yet so close to my tomorrow. Today I relive stories of humility and determination, wisdom in my hands and a great respect for the land, a value that deserves respect, which at times disappoints and gives tears of fatigue, but which then always returns to smile to give immense satisfaction. The sweat of the earth, all my work revolves around admiration for this metaphor. No filter, only natural light and the poetry of primary colors, to frame the close-up portrait of a peripheral and urban fabric that is increasingly current and intense, sometimes even rough, but for this reason even more authentic. Men and women, the human being, guardian of an inestimable value, the dignity of the soul that resists and does not bend to the easy in the face of the rhythm of the seasons, the confirmation of a today that will surely know how to cultivate the roots of its future. © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca © Paolo Ricca Paolo Ricca’s photography is an invaluable reminder of the beauty and value of everyday life. From his work, we can see the drive and determination that comes from the land, and the resilience and joy of the people who live off it. Through his photographs, we are reminded of the beauty and strength of humanity, and the importance of respecting and appreciating the land that sustains us. Paolo’s work speaks to our hearts and gives us a powerful glimpse into the lives of others. view Paolo's portfolio Read an interview with Paolo >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions.

Photography and art have always been intertwined with my life, a narrative unfolding long before I even held a camera. Born in Portugal, raised and educated in Belgium, with English as my third language, my journey has been one of diverse cultures and languages. Traveling extensively, I've found inspiration in the world's myriad faces. My father, a hobbyist photographer, instilled in me the basics long before the digital age. Initially, I captured travel and family moments, but gradually, photography transformed into an art form, an expression of my innermost self. With the onset of the pandemic and the world locking down, I turned my lens inward, embarking on a self-portrait journey. Avoiding mere poses, I sought to capture raw emotion, layering images to reflect the complexity of human experience. What began as the "Pandemic Diaries" evolved into "The Artist Next Door," a testament to growth and evolution, both as an artist and as a woman. MIA DEPAOLA Photography and art have always been intertwined with my life, a narrative unfolding long before I even held a camera. Born in Portugal, raised and educated in Belgium, with English as my third language, my journey has been one of diverse cultures and languages. Traveling extensively, I've found inspiration in the world's myriad faces. My father, a hobbyist photographer, instilled in me the basics long before the digital age. Initially, I captured travel and family moments, but gradually, photography transformed into an art form, an expression of my innermost self. With the onset of the pandemic and the world locking down, I turned my lens inward, embarking on a self-portrait journey. Avoiding mere poses, I sought to capture raw emotion, layering images to reflect the complexity of human experience. What began as the "Pandemic Diaries" evolved into "The Artist Next Door," a testament to growth and evolution, both as an artist and as a woman. LOCATION Washington D.C UNITED STATES CAMERA/S Canon DSLR, Canon Full Frame Mirrorless and iPhone WEBSITE https://1x.com/RMDP71 @MIA.DEPAOLA FEATURES // The Art of Self

PICTORIAL STORY AN ARTIST'S PLACE "An artist is someone who never stops the act of observation, he nourishes himself with everything at any time and attempts supreme awareness of it within his own artwork." - Emanuele De Reggi March 18, 2022 PICTORIAL STORY photography SIMONE BATINI story KARIN SVADLENAK SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The picturesque and stunning landscapes of Tuscany, Italy, have been immortalized in photographs by the renowned landscape and documentary photographer Simone Batini. For the summer of 2021, however, Simone set off on a new creative journey to take part in a unique project – to capture the creative process and environment of the renowned artist Emanuele De Reggi in the town of Pietrasanta. The result of this passionate undertaking is nothing short of captivating; a photo essay that is both beautiful and poignant, showcasing the artist’s skill and expertise in his craft, as well as the unique atmosphere that envelops him as he works. With his signature moody photography, Simone Batini has captured something really special with this series, presenting us with a glimpse into the creative world of Emanuele De Reggi. Simone wanted to document the creation of art and to experience it, and in the first part, the series describes the processing of various materials, including marble, wood, wax, bronze, etc. that come to life from the expert hands and techniques that this artist has learned and refined over the years, in the second part the photos show us some moments of daily life in the artist's house, which is next to the workshop. He is surrounded by various works, accompanied by art in his everyday life. Emanuele De Reggi is a well-known Italian sculptor, painter, and photographer. He was born in the hometown of great art, Florence, and his grandfather Emanuele Cavalli was also a well-known painter of the Roman School art movement. His artistic career took him around the world, living in various countries throughout his career. After his first world tour following his graduation from secondary school, De Reggi took art classes at the Free School of Nude in Florence but returned to live in Australia for three years. It was there that he began his work as a sculptor, carving large wood figures. On his return to Pietrasanta in Tuscany in 1984, De Reggi began perfecting his sculpting skills in a collaboration with the sculptor Giulio Ciniglia. Soon life took him to foreign fields again, living in New York and Barcelona for a number of years. In 1990, however, he set up his own artist studio in Pietrasanta, where he still lives and works today, albeit interrupted by stays in Bangkok and other places. De Reggi's work comprises wood carvings, stone sculptures, bronze casts, iron sculptures, sculptures in burnt clay (terracotta), as well as an amazing array of drawings and paintings. His works have been widely exhibited, both in different Italian cities and around the world, including in New York, Geneva, and other places. His sculptures can be found in public places, such as two commissioned large statues in the city of Newport News, Virginia, and a prize-winning fountain sculpture for the fountain of Ostellato main square in Ferrara. In an interview for the Italian culture magazine Prometeo in 2002, De Reggi said, "I express myself in sculpture because I have a great passion for the material. Stone doesn’t give you the same freedom as a pencil but it’s the only one with such a strong soul that the exchange of sensations justifies the act of sculpting. I feel tied to organic stones; I like warm stones like Iranian travertine, calcareous stones, though I can work many other materials with the same passion." © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini © Simone Batini Simone Batini was privileged to have had the chance to spend time with this accomplished artist and to be allowed to document his work process and his home environment in Italy. Art is a powerful form of expression that can bring people together from all over the world, creating a unique understanding and appreciation of different cultures. It is no wonder that art has an important place in many people’s lives, and this pictorial story is a testament to this. We invite you to explore and discover the photography of Simone Batini and the art of Emanuele De Reggi, as well as other artist’s works, to share in the beauty and power of art. view Simone's portfolio Read an interview with Simone >>> Read TIMES PAST >>> Instagram >>> Sources for story - Emanuele De Reggi's website Interview with Prometeo Wikipedia | Emanuele Cavalli 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 >>> ARE THOSE WINDS Along Istanbul’s northern edge, Ci Demi photographs the last water buffalo herders as they keep working, remembering, and staying put while the city closes in. COLORS OF HÜZÜN Through fragments and gestures, Pedro Vidal traces Istanbul as shared melancholy lingers in everyday life, the city unfolding slowly and refusing to settle into a single, definitive understanding. OUT OF PLAY An exploration of abandoned interiors in which Marco Lugli examines how objects, light, and space carry memory beyond human presence, establishing absence as a condition of material continuity rather than loss. REIMAGINING TALIESIN Form gives way to flux in Amy Newton-McConnel’s photographs, where architecture unfolds as a field of shifting relations and perception moves with light, geometry, and time. WHERE THE MUSIC BEGINS Before the strings, Jeevan Akash Jayavarthanan leaves the movement of the street for the rhythm of the workshop, where time holds, hands work, and each moment forms what will later be heard. LAND, LABOR, AND THE GOLDEN FIBER In West Bengal’s jute fields, Rajesh Dhar examines the systems of land and labor, tracing how a single material sustains communities and informs a changing ecological future. WITH GRATITUDE AND DEVOTION A quiet and intimate account of devotion in Zaraza, Venezuela, Rafael Ayala Páez reflects on faith, memory, and community through photographs and words that honor the enduring power of small gestures. SILVER AND BREATH Within this fragile space between looking and being seen, Eva Christina Nielsen has developed a practice that is both restrained and deeply attentive. RUPTURE REPAIR REMNANT In this reflection on rupture, Donna Bassin invites us to consider how grief settles into the body and the image, and how the slow work of witnessing becomes a form of repair. DELTA DUSK John Agather weaves image and text into a single current, tracing how music, memory, and daily life continue to move through the Mississippi Delta. SILENT BEAUTY Tamara Quadrelli photographs the world by slowing down inside it. There is no rush to explain what we are seeing. The pleasure comes from staying with it. SOLITUDE UNDER A TECHNIFIED SUN Tracing the space between movement and stillness, Héctor Morón reveals a city that persists as human presence slips by. 4320 MINUTES WITHOUT COLOR Moving between photography and narration, Mohammed Nahi traces a period in which sight could no longer be assumed as reliable, and attention shifted toward memory and duration. THE PAINTED VILLAGE OF LABANDHAR Anjan Ghosh’s photographs carry us to Labandhar, where painting becomes language, tradition stays present, and art grows through shared ground. ORDINARY GRIEF What endures when everything else is uncertain? Through photography, Parisa Azadi asks us to see Iran not as story, but as feeling. THE EVERYMAN Eva Mallis uncovers the quiet strength of overlooked lives, capturing everyday encounters in Mumbai’s industrial districts as intimate portraits of labor and resilience. IN BETWEEN LIFE AND AFTER In Cairo’s City of the Dead, families carve out ordinary lives among centuries of tombs — Paola Ferrarotti traces the fragile line between memory and survival. UNFIGURED Nasos Karabelas transforms the human body into a site of emotional flux — where perception fractures and inner states become visible form. VISIONS OF ICELAND FROM ABOVE Massimo Lupidi takes flight above Iceland — capturing nature’s abstract brushstrokes where land, water, and sky blur into poetic visions beyond the ordinary eye. UNDER THE CLOUDS Giordano Simoncini presents a visual ethnography of the interconnectedness of indigenous cosmology, material life, and the ecological balance within the Quechua communities of the Peruvian Andes. NYC SUBWAY RIDERS BEFORE THE INVASION OF SMARTPHONES Hiroyuki Ito’s subway photographs reveal a vanished intimacy — strangers lost in thought in a world before digital distractions took hold. THE GHOST SELF Buku Sarkar stages her refusal to vanish. Her photographs are unflinching, lyrical acts of documentation, mapping a body in flux and a mind grappling with the epistemic dissonance of chronic illness. WHISPERS On Mother’s Day, Regina Melo's story asks us to pause. To remember. To feel. It honors the profound, often quiet sacrifices that mothers make, and the invisible threads that bind us to them. BEYOND THE MASK By stepping beyond the scripted world of professional wrestling and into the raw terrain of mental health, Matteo Bergami and Fabio Giarratano challenge long-held myths about masculinity, endurance, and heroism. FRAGMENTS OF TIME Each of jfk's diptychs functions as a microcosm of the city, allowing viewers to experience urban life as constant fragmented glimpses, mirroring the unpredictable nature of human interactions.