Search this site

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

BOOK AMERICAN BEDROOM July 4, 2023 BOOK PHOTOGRAPHY Barbara Peacock TEXT Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Barbara Peacock is an assignment photographer living in Portland, Maine. She studied fine arts at Boston University School of Fine Arts, and photography and filmmaking at The School for the Museum of Fine Arts/Tufts University. She began as a street photographer and gradually became an assignment lifestyle photographer. Barbara began finding the threads of her hometown tapestry with a project that began in 1982 culminating with a published book in 2015, ‘Hometown’. A thirty-year photographic project that explores the community of the small town where she grew up and continued to live as an adult, Westford Massachusetts. Her photography examines life as she lived it, through the valued personal experiences with people she interacted and worked with, socially engaging on a day-to-day basis. We often walk through our daily lives, without paying close attention to the people we encounter, and the valuable contributions they make to our existence, even in their simplicity. While documenting community events and daily life Barbara exposes the simple realities that help shape the way we engage the world. She asks us to not just look but to see the important contributions inspired by the community. She asks us to open our eyes, as well as our hearts, respect old traditions, while we discover and make new ones, admire our neighbors, and lead with a handshake. Barbara gives back to her community through her visual storytelling, becoming an important thread in the fabric of her community. We have the privilege of sharing Barbara’s current project, which was started in 2016, inspiring the book: American Bedroom - Reflections on the Nature of Life. This exploration is an anthropological examination of American culture spanning across the continental United States of America. Barbara invites us into one of the most sacred and private spaces where humanity exists. Where the door is often closed, securing the contents and protecting the intimacy we nourish as individuals, and share as partners, or families. It is where we dream, celebrate our personal triumphs, nourishing our bodies and minds. It is the space and place we retreat to in times of despair, where we heal from sickness, repair emotionally, replenish when depleted, finding absolute comfort in. ‘American Bedroom’ stories open the door respectfully, giving the subjects the opportunity to authentically communicate this intimacy honestly and openly, unreservedly. ‘American Bedroom’ breaks through the many barriers we create in our society. Barbara opens the door of a bedroom, illuminating the intimate thoughts, revealed through the bodies and souls of her subjects. The naked truth is open for interpretation, and inspiration. The confidence and trust shared between the photographer and subject are unique, allowing the photograph to exist, without feeling like it has been created. Its powerful message lies in the authenticity of the moments shared between the photographer and subjects; this is the magic that Barbara shares with us. “When physical bedroom doors are opened to me there is a veil of religion, politics, and ideologies that is mysteriously and magically lifted. What remains, is the bare soul of human life, a story, and purity of heart that rises like cream to the top. This is not a look at our differences, although there may be many, it is about our likenesses, our loves, our dreams, and all the threads of commonality that connect us as human beings.” We cannot say enough about Barbara and her thoughtful and brilliant work. We would like to give her a shout out for her diligence and generous contribution founding a not-profit organization in 2010, ‘The Nightingale Project’. This project has inspired and supported the artistic nurturing of needy individuals through art and photography providing the opportunity and new vision, to some who thirsted for her influence. It is a traveling program with a variety of ages that are supported, with a mix of people from adults and high school. The journeys so far have included Haiti, Cambodia, and New York. We look forward to watching her program grow, and watching the influence she has on the eyes of the future. Barbara Peacock has worked with clients all over the world in many different ways. Commercial clients include Arm & Hammer, Coca-Cola, Disney, Toyota, Volkswagen & Nickelodeon and more. Editorial clients include People, Newsweek, Real Simple, Family Circle, Oprah, Family Fun. Barbara is a highly awarded photographer and has exhibited internationally, giving Barabara the ability to continue her studies and produce her important work. Follow her links to her website and social media for more information and continued inspiration. You can preorder a personal copy of ‘American Bedroom’ from Barbara’s website and help support the continuation of her important work exploring and helping to define American culture in our contemporary society. PORTFOLIO CLICK ON IMAGES TO ENLARGE 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.

I started street photography to keep memory of the feelings I had while I was walking alone in the street or travelling. But quickly I understood that the result was completely different of what I expected because I was creating something completely new that didn’t exists before. So the cause was not on the past but on the future, in what I’ll do with my feelings by shooting with my camera. So I continue… in my photographic practice, my interest is focused on capturing cinematic scenes and atmospheres. AURÉLIEN BOMY I started street photography to keep memory of the feelings I had while I was walking alone in the street or travelling. But quickly I understood that the result was completely different of what I expected because I was creating something completely new that didn’t exists before. So the cause was not on the past but on the future, in what I’ll do with my feelings by shooting with my camera. So I continue… in my photographic practice, my interest is focused on capturing cinematic scenes and atmospheres. LOCATION Nantes FRANCE CAMERA/S Fuji XT30 WEBSITE http://aurelienbomy-photographie.com/ @AURELIENBOMY FEATURES // The Art of Human Science The Crowd

While I work to prepare a more significant, wide-reaching project, this body of work acts as a field journal. The photographs serve as an illustrated guide, unearthing the masked narratives within the struggle of flawed vision. They allow me to investigate my surroundings as I discover ways to portray and give visual life to the unseen. DOUG WINTER While I work to prepare a more significant, wide-reaching project, this body of work acts as a field journal. The photographs serve as an illustrated guide, unearthing the masked narratives within the struggle of flawed vision. They allow me to investigate my surroundings as I discover ways to portray and give visual life to the unseen. LOCATION California UNITED STATES CAMERA/S Canon 5D IV, Olympus Pen EE, Polaroid Spectra WEBSITE https://sensory.dougwinterstudio.com/ @DOUG_WINTER_STUDIO FEATURES // Beyond Sight

PICTORIAL STORY COALESCENCE Through visual diptychs, the intimate exchange between a mother and daughter unfolds, navigating womanhood through intimate dialogue and revealing a deeper reflection on identity, connection, and time. March 8, 2024 PICTORIAL STORY photography VIN SHARMA project VIN SHARMA & SHIVANI TIMON story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Today on International Women's Day, we are delighted to showcase a collaborative project between a mother and daughter, both navigating pivotal stages in their lives. Vin Sharma, a Brooklyn-based photographer of Indian immigrant descent, was raised in Canada. Her strong cultural family connections inspire Vin to capture a kaleidoscope of emotions we are confronted with on a regular basis. Her work illustrates our impact on one another and the world around us. Vin’s body of work speaks a universal language of shared human experiences, drawing viewers into intimate dialogues. As a mother, the bond she shares with her daughter Shivani is a driving force in her creative approach. Shivani was born in Brooklyn, and it is her home sweet home. She was named after a powerful Goddess of Hindu mythology and serves as muse, as well as a welcome companion. These are the forces Shivani brings to Vin’s life and the enthusiasm she had working with her mother to create this project. Their exploration together gave them time to observe each other in new but familiar ways, allowing their relationship to grow in new directions. Together, Vin and Shivani embark on a photographic adventure that offers them fresh perspectives on each other, nurturing their relationship to evolve in unforeseen ways. Their collaboration prompts contemplation: when do we, as children, grasp the intricacies of adulthood? Conversely, as adults, when do we rediscover the liberation of embracing the innocence of childhood anew? In the context of photography, art often serves as a mirror reflecting the complexities of human experiences. Coalescence is a striking example of this, a series of visual diptychs delicately woven to portray the intimate dialogue between a mother and her daughter. Yet, beyond the familial bond, this project transcends personal narratives to touch upon universal themes of transition, acceptance, and the beauty inherent in change. At its core, Coalescence embodies the very essence of its namesake: the joining or merging of elements to form one mass or whole. Here, the elements in question are not just the individuals captured within the frames but also the myriad emotions, memories, and societal constructs surrounding womanhood. The mother, nearing the end of her menstrual cycle, stands in juxtaposition to her daughter, teetering on the precipice of adolescence. Forty years span between them; a lifetime of experiences and lessons encapsulated within each glance exchanged across the diptychs. Vin shares her driving inspiration for the project. “My daughter pivots on the cusp of adolescence, while I am nearing the end of this cycle. 40 years divide us. As the tenderness of childhood slips away, we bracket each other's natural rhythms. In between, rests a delicate balance of our demands and desires. The cycle of life’s balance persists. The youthful desires that once held my attention make way for the gift of time, while my daughter’s zest for life unravels as a charged birth of emotion. We seek to tread gently through these rites of passage, as we emerge through our inevitable coalescence. We weave our stories together with a gentle acceptance of age.” As viewers immerse themselves in this visual narrative, they witness the ebb and flow of life’s rhythms mirrored in the subtle nuances of expression and gestural posture. The tender vulnerability of childhood yields to the charged intensity of adolescence, while the mother embodies a sense of quiet wisdom born from the passage of time. It is a testament to the cyclical nature of existence, where beginnings and endings intertwine in a perpetual dance of renewal. What sets Coalescence apart is its unapologetic embrace of the natural processes often relegated to the shadows of societal discourse: menstruation and menopause. These pivotal stages in a woman’s life are not merely biological phenomena but transformative experiences that shape one’s identity and perception of self. By way of the diptychs, the artists invite us to confront these topics with grace and dignity, challenging us to shed the stigma and shame surrounding them. Moreover, Coalescence serves as a poignant reminder of the interconnectedness of generations. As mother and daughter stand side by side, their shared experiences reverberate through the images, bridging the gap between past, present, and future. It is a celebration of lineage, of the wisdom passed down through whispered words and silent gestures, weaving a tapestry of resilience and strength. Yet, amidst the weight of tradition and expectation, there exists a profound sense of liberation within Coalescence . It is a call to arms, urging us to honor our individual journeys and embrace change as a catalyst for growth and self-discovery. In a world that often seeks to confine and define us, these diptychs offer a sanctuary of acceptance and love, inviting us to chart our own course through the ever-shifting currents of womanhood. Coalescence is more than just a collection of photographs; it is a powerful reminder of art’s ability to illuminate the human experience. Through its intimate portrayal of mother-daughter dynamics and its unflinching exploration of womanhood, this project nurtures hope and a passionate visual story for solidarity for women of all ages. As we navigate the tumultuous waters of life, may we find solace in the knowledge that we are never truly alone — that in our coalescence, we find strength. Together, Vin Sharma and her daughter Shivani, Coalescence presents a mesmerizing dialogue between generations, encapsulating the timeless journey from childhood to adulthood. With each carefully crafted diptych, the project delves deep into the intertwining threads of womanhood, celebrating the natural processes of menstruation and menopause with grace and dignity. Beyond the mere documentation of familial ties, Coalescence serves as a beacon of empowerment, challenging societal norms and inviting viewers to embrace their individual paths with courage and authenticity. It is a testament to the resilience of the human spirit, reminding us of the strength found within our interconnectedness and the transformative power of self-discovery. As we immerse ourselves in the evocative imagery, may we find inspiration in the shared journey of its creators. May we honor the wisdom passed down through generations and embrace change as a catalyst for growth and renewal. In our collective coalescence, may we discover the beauty of our own unique narratives, and find solace in the knowledge that we are united in our shared human experience. © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani © Vin Sharma and Shivani We conclude with a quote from Shivani about her personal experience on this journey. “I think this project displays the confusion, strength, and resilience of young (and old I guess) girls throughout a journey. It serves as a reminder of the importance of supporting and celebrating women throughout their lives.” When Vin asked Shivani if she thought this project brought them closer, she told her mother, “Nope, we are close enough.” Perhaps it is not closeness they learned about, but strength in independence, as a strong sensitive aware young woman. The Pictorial List would like to thank Vin and her daughter for sharing their wonderful work together, allowing us an intimate view on their emotional journey together, providing inspiration for other women transitioning in life. Women everywhere can embrace what you have created together during these challenging times. It illuminates the negatives, once clearly seen they become the positives. Vin leaves us with. “Through these diptychs, we encourage you, whoever you are, regardless of age, to honor your personal journeys and celebrate change as a catalyst for acceptance and love.” view Vin's portfolio Read an interview with Vin >>> View Vin's project Domestic Wasteland >>> 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 >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. 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.

GALLERY BUILDING A SOLID FOUNDATION November 15, 2023 GALLERY PHOTOGRAPHY Martin Parr Foundation TEXT Karen Ghostlaw Pomarico SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link For over 50 years British photographer Martin Parr has explored humanity, documenting his observations through the lens of a camera that has helped define a generation of British culture. He has exposed the way societies globally live their day to day lives, how they play, work, consume, communicate, revealing connections or disconnections to community. The years of experience focusing through the lens of a camera created an awareness and desire to support photography in more meaningful ways. In the fall of 2017, the Martin Parr Foundation opened their doors in Bristol, United Kingdom. I asked Martin where the idea and motivation came from, to create the Martin Parr Foundation. “For over 20 years I have been collecting prints and books. More recently, I have started specializing in British photography, and I decided I needed a foundation to launch this so I could officially collect them, find a building to exhibit them, build an archive, build a library, and that is what happened. And in 2017, we opened the current site where we are at now. I had an office in London with maybe 4 people working there, we all helped look for buildings in Bristol. About 6 months of looking, we found our new home. The Foundation started a charity, and the charity bought the Foundation’s building. I have another building in Bristol that I have had for ten years in fact, and we are continuing to expand. We are about to purchase a building next to our current one.” Martin Parr and his foundation have a mission, and together with his inspirational Board of Trustees, they are devoted and work diligently to accomplishing the Foundation’s Mission Statement. MARTIN PARR FOUNDATION SUPPORTS EMERGING, ESTABLISHED AND OVERLOOKED PHOTOGRAPHERS, WHO HAVE MADE AND CONTINUE TO MAKE WORK FOCUSED ON BRITAIN AND IRELAND. WE PRESERVE A GROWING COLLECTION OF SIGNIFICANT PHOTOGRAPHIC WORKS AND STRIVE TO MAKE PHOTOGRAPHY ENGAGING AND ACCESSIBLE FOR ALL. WE ARE COMMITTED TO MAKING THE MARTIN PARR FOUNDATION A PLACE FOR EVERYONE AND TO REFLECT THE DIVERSITY OF BRITISH AND IRISH CULTURE. Speaking with Martin, he shared more about their collection and what the Foundation specializes in. “We specialize in post war British and Irish photography, and photographers that have worked here from abroad. I feel British documentary photography is very good, it's underrated, so I feel it is my job in a sense to build a collection of this, I am not the only one that has a good collection, James Hyman Gallery in London has a good collection, the V&A has a good collection, the Tate has come into photography of course much later, but are sort of making good progress, so I am not unique in this. I think we have every book of interest post war about British photography that has been published.” Martin put together a heavy hitting select group of driven individuals, with the same goals in helping him and the foundation achieve their short-term and long-term goals. The Martin Parr Foundation is a family foundation with nine present board members including Martin, his wife and their daughter. They all have specific focus and talents that combined are the engines that drive the foundation to achieve their short-term goals. They are committed to providing their combined resources to successfully realize their long-term goals for the future. When I asked Martin what were some of the challenges he faced along the way and how did he overcome them. Remarkably Martin has not had any challenges really. The team works seamlessly with diligence to create a valuable resource of sustainability for British and Irish photography. It is what drives and inspires them. “We have over 500 members, a terrific response from the public, we do a book fair. Everything else is looking pretty good actually, so the challenge of finding an audience has been met very successfully. We do a bit of social media organizing, we have a very good social media person, most of the outcome is done for free. We are aiming of course to find other photographers, people interested in photography, and I think we have done that all pretty successfully.” In 2021, the Martin Parr Foundation launched a photographic bursary to support Black, Asian and minority ethnic photographers in the United Kingdom, extending their outreach embracing even more unrecognized talented visual storytellers, helping to diversify, support, and represent a broader range of brilliant photography. I asked Martin what was the inspiration for the commitment of the foundation to support emerging and unrecognized photographers. How do you find them, how do they find you? “As I mentioned before, I think British photographers are underrated, and some of the more established names have not received the recognition they deserve, and young new emerging photographers need to have shows in public spaces. We are very happy to give a photographer their first show, it's always a great thrill to do that, and to see the show very well received, and to see them go on and take part in the whole business of being a British photographer. People write to us and send us books all the time, and I'm always on the lookout for emerging photographers. We are in social media and magazines, constantly looking for new people who are interesting to get in touch with.” When the Martin Parr Foundation supports an artist, it is a process of enabling the artist to grow by giving them the support they need. It is a long-term relationship they nurture, and it is rewarding to the photographer as well and to the trustees and members of the foundation. “We help them make a selection, we help them print it out, we have a very good PR person who is getting very good publicity for all our shows. So, we basically apply all the skills we have here, especially when they are emerging photographers, so they can benefit from having a very professional, very interesting, good solid show, with a good response.” I wondered if all the work for the foundation over the years and all the photographers Martin has encountered have had any impact on the way he engages his own photography. “Not really, no it's an add on, which I'm very happy to have, you know I’ve been a photographer for all these years, and I have all this energy so I can invest it in other things as well. And also trying things for new, trying things that are a challenge, that is always fun. Getting the foundation up and running, getting the membership, getting the audiences for our talks, our book festival, etcetera.” As photographers it is a daunting task to organize a system to archive our work. Can you imagine this task being left to our children, or our siblings. I inquired about why the foundation has taken the responsibility of some photographers' archives. Food for thought for all photographers as we collect vast libraries of photographic information and materials. “This is a big problem that all the photographers of my generation, have to face, what are they going to do with their archives, so yeah, there is no x, y or z here, not like in America, so you just have to do it, organize it for yourself. It often falls on the children of the photographer, so that is one thing I wanted to avoid, when you have one daughter, I didn't want to lumber her with the task of sorting it all out.” I asked Martin what have been some of the Martin Parr Foundation's high points as well as any low points over the years. “We just had our book festival which had thousands of people through, we had nine talks. We had another joint photobook festival with BOP, Books on Photography. More people than ever before attended, there were more talks than ever before, and all talks were full. Then we had a quiz on Saturday night at a local bar that was very well attended, so everything has been great. That's one of the high points really, just to see all these people come here. No low points really at all.” When I asked Martin what some of the long-term and short-term goals of the Foundation are, he told me, “More of the same, both to both.” They will continue to secure the photographic legacy of British and Irish photographers, while inspiring and supporting new visual storytellers that will create a new dialogue for the future of photography. “Being a collector of many things, especially photo books. I asked what was the first book in his collection, and Martin immediately replied, “‘The Americans’ by Robert Frank. It is one of the great books of the 21st century. And ‘A Day Of’, by Tony Ray-Jones.” Daido Moriyama would also be in the top ten authors and books in his collection. Martin explained how it is not just the photographs that inspire him, but it is the whole package, the way the artists developed the concept of the book, the paper, layout, binding, all play a role in what makes a book special and rare. Straightforward and simple like Robert Frank ‘The Americans’ as well as the more complex works by Daido Moriyama, all bring inspiration through the combination of how they feel, how they work as a complete thought process, because the photographs are just brilliant.” I asked Martin Parr what he does with the moments he is not out helping to change and support the world of photography, and what gives him personal pleasure in his time off. “Well, I like to go out to eat, I like having walks, which is somewhat limited due to my having Myeloma. I can't walk as far as before, but on nice breaks, I go with my wife. We've been together for 48 years I think now, which is a long time.” Martin is as committed to his family as he is to his work. He relies on their valued contributions to the foundation and enjoys the life they have made together and shared. The Pictorial List would like to thank Martin Parr for his time and candor answering our questions and enlightening us about what the Martin Parr Foundation is diligently working to achieve. Photography is a process driven form of expression. From learning the process of capturing light through apertures for different lengths of time, to the process of turning a negative into a positive. As photographers we process our critical and creative thoughts focusing through the lens for our definition of that expression. We are grateful for organizations like the Martin Parr Foundation, that help support photography and photographers of the past as well as genuinely mentor and create new opportunities for photographers of the future. VIEW WEBSITE CLICK ON IMAGES TO ENLARGE 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.

CLEOPATRA JOINT My visual practice intertwines reality and the dreamlike, with a focus on emotional and relational dynamics. I am represented by YAH Factory gallery. I have exhibited in group shows in Bari, Milan, and Paris, taking part in Paris Photo OFF and One Shot in Milan. In 2025, I presented my first solo exhibition in Milan. I have also exhibited near AncheCinema Bari and at the Bari Puglia International Film Festival, where I was among the winners. In 2026, I was selected by Comò to exhibit as part of Fotografia Europea at Atelier Due Gobbi. My work has been published in Perimetro and SuperOtto. I have also curated and organized Fuori Bifest between Spazio13, Bari’s cultural hub, and the Bari Civic Museum, creating a group exhibition of contemporary art and involving filmmakers such as Manuel Marini and Nicola Ragone. LOCATION Bari ITALY CAMERA/S Canon R6 WEBSITE https://acleopatrajoint.tumblr.com/ @CLEOPATRAJOINT FEATURES // Regina: Boarding School Life and Dreams

FINDING HIS ZEN Jason Phang uses his photography as a way to regain his zen, drawing strength from the people he observes through his viewfinder. FINDING HIS ZEN April 23, 2020 INTERVIEW PHOTOGRAPHY Jason Phang INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Exploring the beauty of life through his lens, Jason Phang has found a way to reconnect with his inner self. Originally from Singapore, Jason has lived in Auckland, New Zealand since 2004 with his family. Not limited to a specific genre, Jason uses his lens to capture the beauty of people and places with an eye for highlights and shadows. His photographs reveal an intimate understanding of life and its many nuances, allowing him to find solace and strength within the people he observes. Jason's journey with photography began out of a need to press pause on the world, and instead found his zen through the lens of his camera. “I came to realise that photography was a really good way to help me achieve mindfulness. I retreat into a studio in my head and the time spent making photos gave me a sense of peace can tranquility that I crave.” IN CONVERSATION WITH JASON PHANG THE PICTORIAL LIST: Jason, when did you start getting interested in photography? JASON PHANG: As a kid my mother made me pose endlessly and we took lots of photos together. At that age, I associated the camera with pain and boredom. But as I grew up, what my mum said about how to take photographs stuck with me and I was keen to try my hand at it. I also liked how those painful moments posing for my mum gave me a way to remember my childhood and keep those memories alive. When I started my first job out of school, the digital revolution had started. Digital cameras allowed a real novice like me to experiment through trial and error. Mistakes made can be deleted without paying good money to have them developed. That ability really gave me the confidence to invest in a camera and give photography a shot. Over the past 20 years, I continued that journey of learning and experimenting. TPL: Where do you find your inspiration? JP: Inspiration can be found in two ways, simply going out shooting and letting the scene in front of me develop and researching. I carry my camera with me all the time when I’m out and about. My photography preference tends towards un-staged street photography. As such, just getting myself out there allows me to inspired by the people and architecture around me. Prior to social media, I found inspiration in National Geographic, Travel magazines and Life magazine. Stories and journalism intertwined with powerful images evoke a strong emotion in me and make me want to get off my chair and go make some photographs. Social media is often portrayed in a negative light because it encourages people to compare and not be content. I’ve found so many instances of strong storytelling through video, words and images from talented people around the world. Rather than comparing myself to them and forming a judgement of any kind, these photographers have opened my mind up to different viewpoints. TPL: Where is your favourite place(s) to photograph? JP: I’m starting to realise that the city environment is my favourite place to shoot. Places where people come together. It is kind of scary for me to admit this as we are planning to move away from an urban environment to a rural setting which might change what I shoot. TPL: Has your style of photography changed since you first started? JP: When I started photography, I took photographs that directly helped me record memories. As I continued my journey, I also started to use photography as a means to record memories indirectly. I wanted to record the world around me, not necessarily faces and moments I was involved in but the environment I was in. I hoped that in doing so, they will trigger richer memories and help me be more aware of the people and situations around me. TPL: Who are your favourite artists? JP: Sean Tucker has definitely inspired me the most in the first 1-2 years. I appreciate his reflective approach to photography and his unobtrusive style of street photography. Fan Ho is a master. Alan Schaller also inspires me. Here are other photographers that inspire me - @kimiko_bw @steffanherricknz @adriano.rh @theweijian @lin.taro Comparison is the thief of joy. - Theodore Roosevelt TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? JP: Be patient and slow down. This is something I personally struggle with. I use photography to be more mindful because I have a tendency to react when I should simply just wait and pause. It might sound counterintuitive when street photography is about living in the moment and capturing the world as it goes by. But so far in my limited experience, slowing and and pausing before clicking on the shutter has served me better than the whack a mole approach. TPL: Have you ever been involved in the art world before photography? JP: I have not. I like art. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? JP: “Money is only important to the person who has heaps”. I am inspired by my camera of choice. I won’t deny that my Fuji X-T30 has both enabled and inspired me to shoot. I’m also a victim of camera envy. While I might sound like a hypocrite, I also think that the best camera is the one you have with you. Cameras are expensive. Full Stop. Period. My advice to a starter will depend on how much disposable income they have. If you’ve got disposable income and are able comfortably look after yourself and your family, I would encourage the photographer to get a mid range camera (like a Canon M50 or Fuji X-T20/30) as they allow a new photographer to fall back on solid automatic settings and grow in confidence to try different approaches like aperture priority or full manual. However, if disposable income is low, I would feed the passion and grow your skills with any camera you can get your hands on. A phone camera is plenty good enough as it is with you all the time and it teaches storytelling and composition skills. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? JP: No. I’ve read/watched other photographers talk about projects with themes and all. But I personally have not arrived at that stage of my journey yet. However, I’m keen to see what my answer to this question will be in 2 years’ time. TPL: "If I wasn’t photographing what would I be doing?... JP: I would want to teach yoga. Both are ways I get physical and mental therapy." PORTFOLIO WEBSITE INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. 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.

ENROUTE TO THE PINES To celebrate Pride month, Robert Sherman shares his documentary series about drag queens celebrating the 'Invasion of the Pines' in Long Island. ENROUTE TO THE PINES June 2, 2021 INTERVIEW PHOTOGRAPHY Robert Sherman INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Robert Sherman, born in Chicago, but now based in New York City, is both a photographer and a musician and composer. He developed a pure passion for the art of photography and ended up becoming the staff photographer for the Fire Island newspaper. Of late he has also become a columnist for them and manages their social media account. To celebrate Pride month, as a double-feature with our friends at Spectaculum Magazine, we have asked Robert to share some photos from his documentary series about drag queens celebrating the INVASION OF THE PINES in Long Island, part of the annual Pride month events. “I was sent on assignment four years ago and fell in love with the event. The energy of the pre-party scene in Cherry Grove, having full access with press pass to the preparations and behind the scenes “Jamboree”, and being allowed on the Queen’s Boat enroute to The Pines for the red carpet pageant was exhilarating beyond my wildest photographic and emotional dreams.” IN CONVERSATION WITH ROBERT SHERMAN THE PICTORIAL LIST: Robert please tell us about yourself. Talk to us about your work and life in New York city. When and did you become interested in photography? ROBERT SHERMAN: I was born on the south side of Chicago, but moved to Northern California when I was 12, so the west coast really does feel like my cultural roots and San Francisco my hometown. But I came to Boston for my bachelor’s degree in music and then to NYC to get my masters degree at The Manhattan School of Music. I then stayed in New York for 35 years now, so I definitely feel like a full-blown New Yorker. I freelanced as a pianist and composer for years in NYC and then landed a full time job teaching music at The Calhoun School on the upper west side. I let go of teaching after 10 years and found myself obsessively fascinated with photography, almost as if it were a new musical instrument speaking to a lifetime spent in that pursuit. My wife got tired of seeing me using my iPhone so much, so she bought me a birthday present of a beautiful Sony mirrorless, my first real camera. Three years studying the basics, as well as taking master classes in the philosophy and grammar of photography at the International School of Photography brought me to a place where I felt I could follow and realize my total immersion in this new passion, and, in short, found myself continuing incessantly to photograph everything in sight that engaged me. I now consider myself a full time freelance street photographer, portrait photographer, and photographer in general. Four years ago I was offered a job as staff photographer for the Fire Island News, a newspaper based in Long Island, NY, and jumped at the opportunity to work as a photojournalist, as well. I am now also the editor of their Instafeed, and a regularly contributing columnist for the paper. TPL: It is Pride Month, and we have scheduled your feature of the Invasion of the Pines drag event in celebration of this special month. How did you get involved in this event? RS: I was sent on assignment four years ago and fell in love with the event. The energy of the pre-party scene in Cherry Grove, having full access with press pass to the preparations and behind the scenes “Jamboree”, and being allowed on the Queen’s Boat enroute to The Pines for the red carpet pageant was exhilarating beyond my wildest photographic and emotional dreams. Below deck I could find quiet moments of introspection and tender friendships, isolation, restrained nervousness and excitement, raw enthusiasm for the explosive moments to come upon landing at the next town over, The Pines, the exiting down the ramp and onto the red carpet for the pageantry and the fashion gala in front of thousands of spectators, revelers, supporters and beautiful people of like minds. I have covered two such events so far (Covid having blocked last year), the third coming up this July 4, and have never been able to shoot less than 1,500 photographs each time. I narrow them down to around 50, and from that, the paper chooses about 10 shots for publication. The rest are for me and my utter adoration of the process. It is my absolute favorite assignment of the year. TPL: What do you find especially interesting about the event in particular, and about drag in general? RS: In spite of the historical and current social hardships the LGBTQ community faces, there is a level of 'celebration of self' that is unmatched in most other groups or circumstances I’ve witnessed. Not unlike the amazing beauty of the carnival and birthplace of the incredibly intoxicating Samba music in Brazil —a country rife with suffering and pain— somehow finding its way toward the purest forms of all-encompassing celebration, this Invasion event is a true and total immersion into ecstatic revelations of how beautiful each and every one of us are, as we are; unfiltered and true to ourselves. I find myself enthralled by how being so utterly convinced of one’s beauty within makes each and every participant the most exquisite presence on earth. TPL: Are there any other events that celebrate Pride that you would recommend for photographers interested in the subject? RS: In spite of its challenges as a photographer and perhaps an outsider, with the crowds and crowd blockades, the NYC Pride March remains the most fantastic and enormous event of its kind. All of it, wherever you go to celebrate Pride Month, one will find a plethora of pure celebration that is impossible to not want to capture in image, narrative, and emotive content. TPL: In general regarding your photography, where do you find your inspiration to create? RS: I am not finding myself able to put my work in any particular "record bin". I can’t categorize nor “brand” myself. I simply must photograph what’s in front of me, that which engages me. I feel like I literally fall in love for that fraction of a second in which this endeavor eventuates. TPL: What do you want people to remember about your photography? RS: The images themselves. I don’t wish to be seen in the photograph. If anything, perhaps there’s a common thread of continuity in the part of me that sees and captures what’s in the image. But I strive to have the pieces speak for themselves. This Invasion event is a true and total immersion into ecstatic revelations of how beautiful each and every one of us are, as we are; unfiltered and true to ourselves. TPL: Do you have any favourite artists or photographers you would like to share with us? RS: Miles Davis, Elliott Erwitt, Irving Penn, Bill Evans, William Eggleston, Thelonious Monk, Diane Arbus, Betty Carter, Dorothea Lange, João Gilberto, Helmut Newton, John Coltrane, Chehalis Hegner, Hyuna Park... don’t get me started. The list is too long. TPL: Do you have a favourite place to photograph? RS: New York City is by far the most amazing place to simply walk around with camera in hand. So many colors, walks of life, people who are in their own world, and all the many who wish to be seen, who want to be photographed. That reminds me, one more quick one for the previous list: Bill Cunningham, the great fashion photographer on the streets of New York with his bike and camera simply riding around and capturing all the best of the best moments. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? Please describe your process. RS: I think it’s neither, unless I’m in a more formal portrait project setting in which I am looking for very specific ideas. I think I try to “go to the images” and not wait to let them “come to me”. I move a lot. As in jazz improvisation, where there is a requirement of super-focus, studied instinct, and practiced intuition that asks you to anticipate the next 'inevitable' note, the same applies in photography: to see the shot ahead of time and move toward it with a sense of composition, decisive moment, expression, interaction, narrative, or simply the 'stealing of beauty'. Because I feel that stories and beauty are everywhere and in everyone. You just have to look for, and reach out toward them. 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? RS: I’ve stuck with Sony, and it has done everything I need and want with complete satisfaction. I’ve upgraded two times since my first camera, following my evolving needs. And now sit happily with the mark IV. I have nine lenses for various settings: 200-600mm for surf photography, wildlife, and nature, I prefer the 135mm f1.8 for portrait work, as a little compression always helps to further beautify faces, or my zeiss batis 85mm if I want more of the environment around the subject. For street I go in all directions, mostly 50mm, but I also play with compression and discretion on my 70-300mm, or the circus act warping of my 12-24mm, I have a 90mm and a 32mm macro. And my 24-70mm, although burdensome and at times off-putting for the people around me, is a beautiful street photography solution, as it sometimes forces the issue of real engagement with the subject in the moment. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? RS: I have a solo show offered to me by the Ocean Beach Historical Society, during its centennial celebration of the city, opening on July 16 on Fire Island, NY, entitled 'Here, There, and Back Again'. It will be a collection of individual photographs, triptychs, portraits, from “home” on Fire Island, and New York City, and abroad in Italy and Southern Spain, from street photography to character studies to the aforementioned Pride Invasion in brief series from below deck of the Queen’s Boat to the red carpet, a few nature shots, as well as honoring my lifetime passion for surfing in some local gems off the shores of life on Fire Island. Beyond that, the next project will certainly be realized one way or another, I have no doubt. My aspirations are to keep shooting what I find fascinating, and presenting both in series, as well as the seemingly fresh focus on the stand alone 'individual photograph'. Of course I want to sell and make museum level works and show in important galleries everywhere. But most of all, at this point in my life I just want to tell stories, write “songs” with my camera, no, with my eye and heart, and continue to see all that surrounds me and find the moments I wish to capture and share with anyone who wants to join me in it all. I just want to keep falling in love. TPL: "When I am not out photographing, I (like to)… RS: Edit photographs and print them for true indulgence of their actual value in my life, play my 1924 Steinway Grand and my 1965 Hammond B3 organ for myself at home, surf, spend time with my grown children and my beautiful wife, and eat ice cream." PORTFOLIO INSTAGRAM read more interviews >>> CONTOURS OF ABSENCE Where concealment unsettles recognition and ordinary spaces turn psychological, the photographs of Serhii Fett suspend identity between presence and absence. THE ART OF ATTENTION Curiosity turns portraits, objects, and places into discoveries as Len Irish reflects on a life shaped by the camera’s attention. WHERE EMOTIONS BREATHE Simple encounters Irina Sedletskaya almost missed become photographs shaped by silence, distance, uncertainty, memory, hope, and resilience. 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.

A year and a half ago I decided to buy a camera to film my trip to South Africa. After the trip I felt like my camera was collecting dust on the shelf. So last year June 2019 I decided to take my camera to work on a daily basis and explore the city during my one hour lunch break. This was the start of the one hour lunch break sessions and later would expand to photographing in the weekends. First it started with taking pictures of architecture and later it expanded to street photography. I like shooting architecture, because buildings never move and I find it really relaxing to do. Just walking around alone in an unknown city, taking pictures of some beautiful buildings. As a motion designer I am always fascinated by pattern, close-ups and repetition of the buildings. GINO RICARDO A year and a half ago I decided to buy a camera to film my trip to South Africa. After the trip I felt like my camera was collecting dust on the shelf. So last year June 2019 I decided to take my camera to work on a daily basis and explore the city during my one hour lunch break. This was the start of the one hour lunch break sessions and later would expand to photographing in the weekends. First it started with taking pictures of architecture and later it expanded to street photography. I like shooting architecture, because buildings never move and I find it really relaxing to do. Just walking around alone in an unknown city, taking pictures of some beautiful buildings. As a motion designer I am always fascinated by pattern, close-ups and repetition of the buildings. LOCATION Rotterdam NETHERLANDS CAMERA/S Panasonic GH5 & G9 WEBSITE https://fleeting.pictures/ @FLEETING_PICTURES FEATURES // Architecturally Composed

PICTORIAL STORY END OF AN ERA Mish Aminoff reflects on the days following the Queen’s passing, opening a quiet, personal aperture onto a nation in mourning. Her photographs trace moments of reflection, ritual, and human connection as the country moved toward the final farewell. September 24, 2022 PICTORIAL STORY photography MISH AMINOFF story MISH AMINOFF introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Mish Aminoff is a multifaceted and multidisciplinary artist who engages the arts with passion. Photography becomes her eyes; she paints to express what she sees, sings from the soul, and dances with an open heart. Her photography is intuitive and spontaneous, allowing the moments captured to fill the frame with authenticity. She has had a camera in her hands since she was a child, seeing things in a different way, developing an approach of depicting the world around her in a unique manner. Her multicultural heritage gives her a unique awareness and acceptance of the community she lives in. When The Pictorial List heard the news of Queen Elizabeth II’s death, we thought of Mish’s unique eye and awareness she brings to her visual storytelling and asked her if she would fill her frame with the authenticity she sees in the streets of London during this time of loss, depicting the end of an era . In the photographer's own words, I let Mish open the aperture, revealing her impressions on the days following the Queen’s death leading to the funeral procession. These images document, from my visual perspective, the streets of London in the immediate aftermath following the death of Queen Elizabeth ll. She had been queen for 70 years - longer than I have been alive - so I have always known her to be the Queen. Her image has been a constant in the fabric of daily life; her miniature representation appears on coins, banknotes, stamps. Even in the domestic arena, my breakfast marmalade has the symbol of her crown on the label, with the words “By Appointment to Her Majesty the Queen” printed in tiny capitals. When I speak, my London accent is definitely more Queen’s English than cockney. The morning after her death was announced I traveled into Central London. For me, it felt momentous, like the end of an era. The streets at that point were quiet, the atmosphere oddly surreal and I intuitively started photographing. During 2022 I had been photographing aspects of the Queen’s Platinum Jubilee. The images tended to contain a lot of nationalist imagery such as Union Jack flags and bunting. Whilst there were photographs of the Queen in shops and people’s home windows they were often humorous; including paper masks and life-size cardboard cutouts; the sort of thing you might see at a funfair. However, immediately after her death the types of representations and the scale of these images changed markedly. On London Underground, illuminated advertising was either darkened and switched off out of respect or the advertising was replaced with the Queen’s portrait. Suddenly, her face was everywhere, projected on walls, monitors, light boxes and screens. She was magnified, sometimes reflected. These images were often much larger than life, filling walls and building facades. Her iconic representation now spanned everything from a tiny postage stamp to large mural projections. One of the things I found interesting was that rather than one official portrait, images have been chosen that encompass many decades. The streets are filled with a variety of her portraits as a young queen, middle aged woman and senior. One such portrait, used for her Silver Jubilee back in 1977, was made even more iconic by American artist Andy Warhol, who created a series of screen prints of Reigning Queens in 1985, in addition to screen idols Marilyn Monroe, Elizabeth Taylor, and musician Elvis. At the September London Colour Walk, Artist Sue Kreitzman repurposed her Andy Warhol tea towel, a merchandising spin off of the artwork, sewing it into the back of her multicoloured coat. As well as the tributes as the week progressed, I couldn’t help noticing juxtapositions of the Queen’s representation with street art and signage. Increasingly these became more commercial - her image could be found side by side with adverts for store offers. Sometimes light box signage oscillated between dedications to Queen Elizabeth and completely unrelated merchandise, which had a surreal, almost absurd quality. What made the Queen so recognisable? To me the Queen’s accessories function as metonymy, where a single white glove, seen at the edge of a magazine cover, undoubtedly belongs to Her Majesty. Beyond the obvious crown, her pearls, brooches, hats, handbags and shoes are not just accessories but powerful symbols communicating ideas of identity, stability and sovereignty. What has surprised and bewildered me are the extreme contrasts and polarized opinions in the reactions and emotions to her death, even amongst my friends and colleagues. They range from people feeling utterly bereft to total indifference. There were 250,000 mourners who queued for up to seventeen hours to pay their respects and catch a glimpse of her coffin. There are people who feel censored - that they are not allowed to express any dissenting opinions. There is also deep anger and pain with regards to her role in colonialism. Afua Hirsch’s recent article for The Guardian newspaper headlined This is a Britain that has lost its Queen – and the luxury of denial about its past was an eye opener for me. Whatever your feelings are about the Queen, I hope you find something interesting and visually pleasing in this series of photographs. © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff © Mish Aminoff The Pictorial List would like to thank Mish for her sensitive documentation and pictorial translations of her observations during these mournful and unsettling times in the United Kingdom. She shared with us an authentic look from her own visual perspective depicting the events she witnessed. We commend her respect for the diversity of opinion, reflected and captured through her brilliant photography. We appreciate her honest portrayal of this significant period in history. Please take a look at her portfolio and learn even more about Mish and how photography and the arts have become a thread in her beautiful tapestry of life. Join her mailing list to read her blogs, they will not disappoint! view Mish's portfolio Mish's Blog >>> Instagram >>> Sources included - The Guardian | ‘This is a Britain that has lost its Queen – and the luxury of denial about its past’ >>> Andy Warhol's Queen Elizabeth 2 >>> 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 >>> THE LIFE WITHIN THE MOUNTAIN Ten years after first seeing Larung Gar, Jing Wei returns to a changed mountain, finding continuity in faith, memory and the lives held within it. PROSCENIUM GHOSTS Said Manseur honors these young actors, their courage, and the unseen work they give to keep theatre alive against the odds. REGINA: BOARDING SCHOOL LIFE AND DREAMS A boarding school room becomes the frame for Cleopatra Joint’s portrait of ambition, instability, and a young woman’s search for freedom. LIFE ALONG THE RIVER Along the Hooghly, Shubhodeep Roy photographs Kolkata through faith, labour and memory, revealing a city shaped by water, inheritance and shared life. A HOME OF MEMORIES AND THE PRESENT Davide Santangelo returns to his family home by moonlight, tracing how absence, memory, and love continue to live within place, objects, and atmosphere after loss. THE PULL OF THE EARTH This is more than a record of rural Bengal. It looks at the bond between Sayan Biswas and the place that shaped him, even after distance has changed that relationship. 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.

I’m driven to photographing the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time -- people going about their everyday -- my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen. EVA MALLIS I’m driven to photographing the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time -- people going about their everyday -- my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen. LOCATION New York UNITED STATES CAMERA/S Leica Q2 Monochrome, Fuji X-T5 WEBSITE https://www.evamallisphoto.com/ @EVAMALLIS FEATURES // The Everyman