NEW YORK VISIONS Sandra Fine's journey with photography is intertwined with her journey through life, encompassing multiple photographic and art genres. NEW YORK VISIONS October 27, 2021 INTERVIEW PHOTOGRAPHY Sandra Fine INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Sandra Fine photographs all around herself, so therefore her work encompasses multiple genres. Sandra has a Masters of Fine Arts from Pratt Institute in Brooklyn, New York, where she was greatly influenced by her teachers and classical photography. Beginning her photography journey as a black and white film photographer, working in the darkroom was her favorite place to be. Her conversion to working solely in digital color was a slow evolution, but as she states..."here I am!" “Street photography became a big part of my life when I started taking lengthy walks (at least 5 miles) around the city a few years ago. The walks became part of my daily routine and I loved exploring the city with my camera. The city itself has a rhythm and a buzz. It has a very complicated soundtrack that changes with the time of day and the weather. The visual vibrance is similar to the soundtrack. There is a constant visual discovery of reflections, architecture, people, vehicles and light in the street. During the quarantine I began my walks before dawn. I often felt that I was photographing silence and the remnants of people. The quiet in the streets had a sadness and beauty to it.” IN CONVERSATION WITH SANDRA FINE TPL: Sandra please tell us about yourself. SF: I was born in New York City and have spent much of my adult life there. I am a fine art and street photographer who combines my love of walking and exploring New York City with my passion for photography. I studied photography and art at Pratt Institute and received an MFA in photography. I started in 35mm black and white film photography. I hand painted on the photos and transitioned into medium format work. I eventually embraced digital photography and found my way to color, which was a gradual evolution, because for so long, I loved the darkroom. TPL: How did you become interested in photography? What does photography mean to you? Describe your style. Where or how do you find inspiration? SF: I was always interested in art growing up. My father was the family photographer and I loved looking at family pictures and albums (I still do). I took my first photography class in college and used my father's old camera which was a Minolta A-2 in a beautiful leather case. It was completely manual. My passion for photography creeped into my consciousness which led me to study at Pratt. Photography is sewn into my life. I go everywhere with my camera and shoot everything. Inspiration is not hard to find. I find it all around me, on the streets, in nature, in books, in museums, in cinema and with my family. TPL: What are some tips or advice you would give yourself if you started photography all over again? SF: That is a hard question to answer. My journey with photography is intertwined with my journey through life, so it becomes a philosophical question for me. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SF: I have many. I will name the photographers that had a particular influence on me in my early years: Andre Kertesz, Henri Cartier-Bresson, Walker Evans, Dorothea Lange, Imogen Cunningham, Lisette Model, Robert Frank, Helen Levitt. The teacher who had the greatest influence on me was Phil Perkis. I have also been influenced by painting, particularly in composition. I love Matisse for his compositions and the brilliance of his cut-outs which tell you so much about shape and color. Photography is a kind of love affair with your subject. TPL: When you are out shooting - how much of it is instinctual versus planned? SF: Nothing is planned. I go out expecting something, but there are good days and not so good days. 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?) SF: I use a Sony A7R and a 35mm lens. I like the smallness and lightness of it. 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? SF: I have begun a special project with another photographer that is outside the box for both of us. I am very excited about it but feel it is in its infant stages, so it is too early to talk about. I would like to look through my years of film work, organize it, digitize it and make sense of it. I also would like to keep working and growing as a photographer and find an audience. TPL: "When I am not out photographing, I (like to)… SF: I like to swim, read, crochet, watch movies, and spend time with my husband, family and friends." Sandra's journey with photography is intertwined with her journey through life, encompassing multiple photographic and art genres. Connect with Sandy through the links below and follow her on her journey of life. VIEW SANDRA'S PORTFOLIO Instagram >>> read more interviews >>> 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. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. 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PICTORIAL STORY A TALE OF NATURE AND HERITAGE With words and images intertwined, Ana-Maria Alb leads us through the frosty winters of the Carpathians — where every turn reveals a story carved in mountain and mist. February 9, 2024 PICTORIAL STORY photography ANA-MARIA ALB story ANA-MARIA ALB introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The land of Bukovina, located in North Romania, is a region rich in history and teeming with natural beauty. For Ana-Maria Alb, it is a place that holds a special connection to her heritage and a deep love for nature. Her journey in Bukovina is one woven with a passion for exploration and a dedication to preserving its hidden gems. After living immersed in the lively cultures of Germany and Austria for a decade, Ana-Maria’s return to her grandparents’ hometown of Gura Humorului proved to be a transformative experience. It was there, surrounded by the majestic landscapes and vibrant forests, that she made the decision to relocate and dedicate herself to discovering and promoting the wonders of Bukovina. With her certification as a tourism guide, Ana-Maria was granted the opportunity to serve as a local guide, sharing the magic of Bukovina with others. Her days were spent exploring the valleys of the Moldova and Humor rivers, carefully documenting the nuances of the local flora and fauna. The forest paths became her canvas, each step revealing the breathtaking seasonal changes of the landscape. Through her keen observations, Ana-Maria has identified an impressive 70 species of birds and 50 species of butterflies in Bukovina. Her love for the region only grew stronger, and in 2021 she poured her passion and experiences into a book that captured the spirit of Bukovina. Ana-Maria’s book not only delves into the rich history of the region but also presents its geographical wonders, maps out hiking trails, and celebrates the diverse flora and fauna that grace the area. It is a true reflection to her love and dedication for this special place. The book caught the attention of local authorities, and with their support, Ana-Maria’s collaborative efforts resulted in the creation of four hiking flyers. What had started as a personal passion for nature and outdoor walks organically evolved into a deeply satisfying profession. Today, Ana-Maria takes great pride in her role as a guide for Humor Valley’s natural wonders. She shares the region’s history, leads fellow nature enthusiasts through its breathtaking landscapes, and promotes its unique charm. This transition from a wanderer to an authorized local guide not only reflects a professional evolution but also a heartfelt commitment to preserving and celebrating the timeless beauty of Bukovina. Ana-Maria’s journey in Bukovina has not only enriched her own life but also inspired others to explore this captivating region. Through her various experiences in the Danube Delta, Transylvanian villages, and hiking through the Carpathians, she has collected countless stories and photographs that can captivate readers’ interest and serve as inspiration for them to travel to these places. Ana-Maria shares one of her many captivating stories - The Frosty Winters of the Carpathians . With her words and photographs, she invites readers to join her on a journey through the breathtaking Carpathians. Snow and freezing temperatures persist for weeks during the harsh winter in the Carpathians. I write these words thinking of all the wonderful people I met in Bukovina. They taught me how to fully appreciate as well as understand the charm of this place. Come with me on a peaceful journey to enjoy the pastoral settings of northern Romania, in the regions of Bukovina and Maramureş. (Pictures 1-3) After a week of heavy snow and blizzards, the sun lit up the entire Rodna National Park. Starting by car early in the morning from Gura Humorului, we arrived at the Prislop Mountain Pass, which ensures the connection between the historical provinces of Bukovina and Maramureș. Located at an elevation of 1416 m, the natural setting of the mountain pass takes your breath away. Majestic peaks frame the spot, the Rodna and Maramureș Mountains, the latter being the natural border of Romania with Ukraine. Our hiking trail to Gârgalău Peak is splendid; the first part is a walk on a mountain plateau, then a climb on the path made in the snow. From here followed the steeper climb, with several short breaks. Groups of hikers could be seen on the ridge, others behind us. The sun was sending its rays to our frozen faces. There is a little more and a little more. Steamy breaths could be heard with every step. (Pictures 4-6) At the top, at last! With a height of 2158 m, Gârgalău is the fourth-highest peak in the Rodna Mountains ridge. Everyone experiences joy in their own way. The wind's whispers reached even under the hood and cap that covered my head. I turned north-east, my back to the sun, and couldn't stop marveling at the magnificent setting that unfolded in front of my eyes. A warm shiver took over my whole body. Everything around me was so sublime: the ice embroidery, the shine of the snow, the white peaks of the mountain range…A stinging wind touches every inch of exposed skin. A few minutes facing the sun, a few photos, and we set off for the descent path. How lucky we were that we already had the tracks made by other hikers! Arriving at the Prislop Pass parking lot, we enjoyed a tasty meal at the restaurant. In a short time, the hot and spicy soup soothed our red faces and warmed us up. Late in the evening, I arrived home with the same joy that I have every season when I admire, from the valley and from the top, the greatness of these mountains. (Pictures 7-8) Another cold winter morning. The car was going up the road, freshly cleared of ice and snow. The trees are adorned with rime ice, and smoke rises from the chimneys of the houses towards the blue sky. In the north-western part of the Suceava county, alongside the Romanians, live the Hutsuls, an ethnic group of Slavic origin. Their history is still shrouded in mystery, remaining throughout the centuries a compact community spread over the Carpathian area of northern Romania and Ukraine. Respect for traditions, religious and community holidays, and their own lifestyle are features that make this ethnic group something distinct and unique. This Hutsul ethnic group has always had a close connection with the surrounding environment. The horse was the main form of travel in these mountainous areas where they live. Specific to the community is a small, friendly, hardy horse. Its origin is Carpathian; currently, there are several breeding centers. The use of these horses by the Austro-Hungarian imperial army enabled the Carpathian horse breed to gain widespread recognition. Their toughness was also put to the test during the two World Wars. In Romania, the Carpathian horse (hutsul pony) can be found in Suceava county, Moldova-Sulita locality. The craftsmanship with which they make and decorate household items, clothing, and household objects is representative of the Hutsuls civilization. The Hutsuls culture blends perfectly with the pastoral natural environment of the Carpathians through their wooden farms located in the valleys or on the meadows of the hilly coasts, near the forests. For centuries, the main source of existence for these mountain farmers had been provided by this small Carpathian horse. (Pictures 9-10) We leave the village, and the car goes up the country road through the forest that stretches along the border between Romania and Ukraine. We reached the village of Lupcina, at an elevation of 1000 m above the sea. Once, the forests of Lupcina were the land of wolves, hence the name of the village. At the end of the street, after the last house, right next to the forest, there is a wonderful wild meadow. A multitude of wildflowers grow here in the summer; the freshly cut hay smells divine; and colorful butterflies fly gently, giving you the feeling that you are in heaven. If you look up, you can see far away the hamlets and the vast Carpathian Forest beyond the border. Time stands still. In winter, this peace at the end of the world embraces you. The thick fog is slowly falling over the forest. The trees look like biscuits sprinkled with sugar. The wooden fences are silent, frozen in the snow that covers the whole Carpathian world. A crow makes another sound and flies away quickly. At the entrance to the forest, we stop to devour the last reserves of food. From the village, you can hear a dog barking; otherwise, there is a penetrating silence like the cold mountain air. The way back means crossing the forest and then entering a county road. How strange it is, every time, the return to civilization. (Picture 11) Between the towns of Gura Humorului and Câmpulung Moldovenesc lies the valley of the Suha River, a tributary of the Moldova River. The pastoral landscape of the Stânișoara Mountains is delightful; the villages scattered on the sloping coasts have wooden households, and the plots are marked by rustic fences. The locals are engaged in raising animals, working in the forest, and cultivating plants. Here, life is still archaic; everything is based on the peasant calendar, the change of seasons, and the difference between day and night. Suha Valley preserves the autochthonous lifestyle of the first inhabitants of this area, those who founded small communities in the middle of dense forests. The traditional houses combine wood and stone, the course of life in some villages, still follows an archaic rhythm. The gastronomic segment recalls the influences of all the ethnic groups that lived in Bukovina, the folk costume is a textile jewel or combination of textile, leather, fur and contains elements preserved from generation to generation. (Pictures 12-13) The lowest temperatures are usually recorded in January. In recent years, there have been exceptions. On a day when our resistance to the cold was tested as seriously as possible, we took a short hike in the Humor valley, not too far from my home. The river was completely frozen, and we were moving forward with difficulty through the hardened snow only on the surface. We arrived in the center of the village and met some friends. Their invitation to go for a snack in the old house they had from their great-grandmother could not be refused. The small house had a nice veranda with wooden beams. The fire lit on the old stove quickly warmed the room. For several minutes, I admired the shape of the frozen embroidery on the surface of the small window facing the street. In a short time, two plates of traditional food were placed on the table. Steaming potato slices were brought from the stove. These accompanied home-made sausages, smoked ham, onions and peppers, pickles, and cow's and sheep's cheeses. In the evening, I bravely set off for home. When closing the door, I felt a sting on my hand after touching the doorknob. A frosty night was coming. Until the city, only the eyes could be seen on our faces, everything else was covered. The snow crunched loudly with every step. (Picture 14) A special moment in the winter is when I build a snowman. It's my way of forging a spiritual bond between myself and that location. Finding the necessary materials is not difficult; leaves, branches, seeds, and what is uncovered by the snow all help to bring the character to life. Therefore, when leaving, it's also necessary to say goodbye to someone - in my case, the snowman. (Picture 15) This wooden fence has the same vitality as a deeply rooted tree, in my opinion. These fences charge themselves with solar energy, become one with the earth they stand on, absorb the sap of the plants that grow nearby, and become cleansed by raindrops. How could there not be life on this fence? It appears that winter is nature's napping season, with nothing to rouse it from. A far-off human voice is sometimes the only sign that anything is, in fact, happening, including your own breathing. This snow-covered environment has left a deep mark on me: a sense of familiarity and belonging to everything around me — a place I can definitely call home. About Bukovina and Maramureș - Spread over the territory of seven countries, Slovakia, the Czech Republic, Poland, Hungary, Ukraine, Serbia and Romania, the Carpathian Arc is one of the treasures of this continent. Virgin forests, meadows, peaks and mountain plateau are home to a multitude of representatives of flora and fauna, diversity that must be preserved, the balance of the trophic chain being ensured by these species of mammals, birds, insects, plants, fungi. Half of the area of the Carpathians lies on the territory of Romania. Specific to these mountains are vast forested wild areas, mid-altitude peaks, and large valleys. Before 1775, Bukovina belonged to the Principality of Moldavia, after that year it was annexed to the Austrian Monarchy. The interactions between the communities, the exchange of cultures and the patrimonial wealth of each ethnic group, brought Bukovina a plus in its economic, administrative and cultural evolution. After the disintegration of the Habsburg Empire, Bukowina returned to the Romanian sphere, and after the Second World War, the territory in the northern part was taken over by the Soviets. Today, the north of Bukovina belongs to Ukraine and its south to Romania. Before the Second World War, the population of Bucovina consisted of Romanians, Ruthenians, Germans, Jews, Poles, Hungarians, Czechs, Slovaks, Lipovian Russians, and Italians. In what follows, the term for Bukovina will refer to its south, Suceava County, Romania. The neighboring county, Maramureș, has a similar past. From its status as a voivodeship, it was integrated into the Austro-Hungarian Monarchy after 1688, and from 1919, its southern part was included in the territorial unit of Romania. Its north belongs to Ukraine today, with the Tisza River being the natural border. Picture 3 © Ana-Maria Alb Picture 4 © Ana-Maria Alb Picture 5 © Ana-Maria Alb Picture 6 © Ana-Maria Alb Picture 7 © Ana-Maria Alb Picture 8 © Ana-Maria Alb Picture 10 © Ana-Maria Alb Picture 11 © Ana-Maria Alb Picture 12 © Ana-Maria Alb Picture 13 © Ana-Maria Alb Picture 14 © Ana-Maria Alb Ana-Maria Alb’s journey is a compelling example of how personal heritage and a deep appreciation for nature can evolve into meaningful cultural and environmental advocacy. Her work as a local guide, author, and documentarian reflects a sincere dedication to preserving and promoting the unique character of Bukovina. By combining storytelling, research, and lived experience, she brings this remote and richly layered region to life for others. Her efforts not only foster a greater understanding of northern Romania’s landscapes and traditions but also inspire a broader appreciation for the quiet beauty found in places where history, community, and nature converge. Take some more steps into the land of Bukovina with Ana-Maria’s photography in her portfolio and let its beauty captivate you. view Ana-Maria's portfolio Website >>> Instagram >>> Facebook >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. 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PICTORIAL STORY RIPPLED REALITIES Susan Bowen reshapes the meaning of panorama, turning wide horizons into intimate revelations. Her daring approach doesn’t just capture landscapes — it challenges how we see, think, and connect through the frame. June 23, 2023 PICTORIAL STORY photography SUSAN BOWEN story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link The panorama has been redefined in the brilliant work of a New York City based photographer, Susan Bowen. In 2002 Susan found herself needing new direction after navigating through significant life changes. After a hiatus from photography, Susan found new inspiration in a class being offered at the New School. “I was looking for a way to ease myself back into doing art in some form; I stumbled on a 4-week class (taught by Meredith Allen) on the Holga.” The Holga is a very lightweight plastic toy film camera, conceived and fabricated in Hong Kong China in 1981 and introduced to the Chinese public as an inexpensive medium format camera. It is a rangefinder, so you are not looking through the lens. It has no controls, having a fixed f-8 aperture, and 1/100 shutter speed. The Holga is designed to use 2-¼”, 120 medium format film allowing for large scale photographic prints. It has a hot-shoe for flash photography, as well as a bulb mode for creating long exposures. These cameras were plagued with light leaks, became known for their out of focus, blurry, incorrectly exposed attributes that were more than frustrating to some, yet addicting for others, becoming a sought after cult camera. Little did Susan know how this class would change her life, creating new direction and unforeseen inspiration. “The lightness is a major benefit. I also enjoy the quirkiness of it; I work in technology (I’m a computer programmer) so I enjoy the low-tech-ness of it. Using a toy also encourages one to shoot freely and spontaneously. Also, you can’t do the technique I do with a normal camera.” Susan developed a unique process that embraces Low Fi Technology, and High Fi technology, combining the two to find equilibrium. She has an acquired wealth of knowledge accumulated over years of experience defining the world around her through the viewfinder and lens of a Holga. She is known for her overlapping, multiple exposure panoramas. Susan has mastered a way of creating a unified negative, a negative that has no dividing frames, making it one continuous image that is all encompassing. This was achieved by first removing a rectangular piece of plastic on the inside of the Holga camera. This simple piece of plastic masks the film and creates individual frames, if left in Susan would not be able to create continuous 32” long film negatives. After releasing the shutter and exposing the film, Susan would not advance the film all the way, creating double exposures by overlapping the frames, exposing one continuous negative. Susan is often asked, how far to turn the dial, to advance the film. She has no exact answer, sometimes a little more, sometimes a little less, allowing the visuals and living in the moment to direct the exact amount of the turn. Susan enjoys the magic that happens in those serendipitous moments, letting them be the visual stories documented in continuous thought and consciousness. “The long overlapping images are created by only partially advancing the film between exposures – the overlapping occurs in the film itself. I don’t plan my images; they turn out however they turn out. I like the chance element, and I like that they have a cinematic, narrative quality.” Susan found this multiple overlapping technique to work well on a myriad of landscapes, from rural Midwest farmlands, to industrial wastelands, as well as a multitude of urban landscapes. Susan finds focus and inspiration through being open to the experience. She can apply her knowledge and technique in many different environments, understanding at once what will help create that continuous image and monumental landscape. It is an intuitive process from beginning to end. “Although I have lived in suburbs, small towns, and have rural connections, the city is where my heart lies. Wherever I photograph, I see things from the perspective of an urbanite. I find it interesting how even in the country I seek out things industrial and man-made. Drop a city girl in a rural setting, and it's only a matter of time before she goes straight for the man-made items. I enjoy exploring the contrasts and similarities between my urban life in New York City and my experience of rural America. The urban experience to me is largely about motion. The intense pace and vitality of the city excites me; I like to shoot fast and furiously, to be totally immersed and to be swept up in, and along with, the tide of the moment. Either I am shooting people that are in motion or I myself am in movement around my subject. I will stalk my subjects, be they a swarm of gesturing humans or abstract shapes of color and light. Subject matter-wise I like industrial objects, monumental things like grain elevators and Times Square billboards, and big crowds of people. I guess it mostly expresses that I’m uncomfortable sitting still! But movement is what invigorates me. I chose to live in New York largely because there is so much going on, people moving fast, things happening fast. In shooting people, if they are not in motion they bore me, and in shooting stationary objects I have to jump around the thing like I’m doing a fashion shoot or something. I’m not sure why, but that fast pace is inherent to how I shoot; it fuels it.” For Susan, chance plays a major role, the serendipitous frame is part of what excites her, she is always on the outlook for the element of surprise. The continuous negative of multiple exposures captures the authenticity of the experience in the moment for Susan, where the single frame does not express this for her in the same way. Not only has Susan developed a method to expose this 32” long negative, but through trial and error she has discovered innovative ways to print them. Susan soon realized she faced another hurdle, how to display these very large prints. Through her creative ingenuity she came up with economical and beautiful solutions to all the obstacles she faced. As technology advanced over the six-year period Susan found the need to stick with film, there was no digital camera that could do this technique. However, with the advancement of digital developing software like Lightroom and Photoshop, allowed her to work in ways that were nearly impossible in the darkroom. Through the scanning of the negatives Susan could fully embrace the digital production of her continuous multiple exposures. “Things have changed so dramatically just in the short time I've been doing photography again. Most of the labs and darkroom rental places that were still flourishing 8 years ago are now gone, which is sad. The technology is great...I scan my negatives so from that point on I'm digital...so I love the amount of control you have with Photoshop...and that it is permanent (that you don't have to redo the process with each print). Doing these prints in the darkroom was a nightmare (all the dodging and burning due to the uneven exposures) ...especially in color where you have to work in complete darkness. So, I appreciate the technology. I am however really concerned about the impact of the over-accessibility of image-taking and the ease of publishing...everyone shooting anything and everything and posting hundreds of images all over the web. This overwhelming flood of mostly mediocre images dulls the senses and makes the appreciation of good photography, art photography harder. I also worry about the increasing rareness of the physical print; the vast majority of digital images get posted and that is that. These images are not going to be preserved over time. That much historical documentation is going to be lost.” Susan spends many hours editing and making tonal adjustments to the scans of the negatives in Photoshop before printing. There is a lack of continuity where the images overlap and become a multiple exposure. Some of the areas would be dark, while others could be light, tones that needed to be evened out, it was a balancing act that Susan became very efficient at. “I scan my film using a large 11x17 flatbed scanner (Epson 1640XL). I can scan a half of a roll at once and only need to do one splice. Because I want the option of printing large, I always scan at the maximum optical resolution (with this scanner only 1600 dpi). Though I wish I had a higher res scanner, in actuality the files are so large even at that resolution. My files often start out a gig or more and are never less than 250MB as the finished file. I work a long time on my images. The original exposure is very uneven (due to the overlap). I select small areas of the image, define the adjustment (usually via curves), clear the area adjusted, and then paint on that adjustment wherever needed. I go through many, many adjustment stages, usually flattening the image as I go due to the large file sizes involved. I beef up the color via increasing the contrast; I like purity of color and am usually trying to nurse that out of the file. I do edit the images; I remove distracting details like cigarette butts on the ground, and I sometimes move things around. Rarely do I combine images from multiple rolls. I do, however, sometimes remove chunks just to keep the piece a manageable width. I am usually taking away, not adding to the imagery, if changing it at all. A roll of medium format film of maybe 24 or so overlapping exposures will at most give me two final images (I usually use a 7:1 aspect ratio, which is about half of the length of the roll). Occasionally I've printed an entire roll as one piece, but that is one unwieldy print. Most rolls will at most yield only one piece, from somewhere on the roll.” Susan’s exhibition prints are digital C-prints. Her standard print size is 30”w x7”h , matted and framed at 36”w x12.5”h. The negatives have a high-resolution allowing Susan to print images as large as 28’w x 2’h. It wasn't long before Susan recognized her desire to make things really big and started applying for public art projects, where they financially support the creation of the art. The Holga opened up a whole new world for Susan. A good reminder to all of us that you can change direction in life, and to not be afraid to learn new things. Susan went from creating no art at all, to allowing for a new direction to fully envelope her, enriching her life, and bringing much inspiration to ours. Susan believes coming back to her art later in life has its advantages. She feels she benefits from her maturity. She approaches her work without the fear of failure, or being accepted, giving her the freedom to be genuine to her art. “Doing any kind of photography allows one to engage with the world in a way you don’t normally (to be more intensely attuned and responsive to what is going on around you). The Holga does help me to be more spontaneous and put myself in places I would normally be too shy to go. I’d say I interact with the world differently when carrying a Holga. I like to think that my work has a lot of interest and complexity, and I intend for the images to celebrate the everyday details of life. I am also delighted how often these mostly unplanned juxtapositions capture my experience of a particular time and place and at the same time have an identity all their own.” '42nd Street' © Susan Bowen, 2002 'Times-Square Swirls/Three Kings' © Susan Bowen, 2002 'Graffiti' © Susan Bowen, 2002 '8th Ave Street Fair' © Susan Bowen, 2002 'Reflections to Go' © Susan Bowen, 2002 'Pride Parade' © Susan Bowen, 2002 'Departing G at Dusk' © Susan Bowen, 2003 'Merry-Go-Round' © Susan Bowen, 2007 'Halloween Parade' © Susan Bowen, 2006 'Gleason's Gym' © Susan Bowen, 2006 'Times Square' © Susan Bowen, 2006 'Lights of Fremont' © Susan Bowen, 2005 'Skateboard Park, Arms Up' © Susan Bowen, 2003 'Houston Roller Coaster' © Susan Bowen, 2004 'Prairie City Grain Elevator' © Susan Bowen, 2004 'Sea of Snakes' © Susan Bowen, 2004 'Field Silhouettes' © Susan Bowen, 2004 'John Deere Lot' © Susan Bowen, 2004 'War Memorial and DePew Fountain' © Susan Bowen, 2005 'Citizens Thermal Energy Plant' © Susan Bowen, 2005 'Power Plant and Train' © Susan Bowen, 2005 'J&N Feed Supply' © Susan Bowen, 2006 'Orange Trucks, DOT' © Susan Bowen, 2006 'Sauk Rapids Bridge from Below' © Susan Bowen, 2006 'Cement Plant, Snaking Pipes' © Susan Bowen, 2008 This was a period of growth for Susan Bowen, her fearless journey created new critical and creative thinking patterns that motivated and inspired a profound body of work. Most of all Susan allowed her art to help change her life. The Pictorial List is sincerely grateful to Susan for sharing her diligent exploration and insightful discoveries photographing with a toy camera, and taking it to its extremes to create exceptional art. Please follow her links, she has a resource of knowledge that is hard to come by. Follow and support her on social media to see what she is currently up to. view Susan's portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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. VANISHING VENICE Lorenzo Vitali’s portrayal of Venice is an almost surreal experience — where time dissolves, and the viewer is left with the sensation of stepping into a dreamscape.

My journey is a tale woven with a deep love for nature and a profound connection to the historical region of Bukovina in North Romania. After a decade immersed in the vibrant cultures of Germany and Austria, a transformative hike in Gura Humorului, my grandparents' town, took me back to the roots of my heritage. I made the decision to relocate and dedicate myself to discovering and promoting the hidden gems of the region. Armed with a tourism guide certification, I earned the authorization to serve as a local guide - an opportunity that allowed me to share the magic of Bukovina with others. ANA-MARIA ALB My journey is a tale woven with a deep love for nature and a profound connection to the historical region of Bukovina in North Romania. After a decade immersed in the vibrant cultures of Germany and Austria, a transformative hike in Gura Humorului, my grandparents' town, took me back to the roots of my heritage. I made the decision to relocate and dedicate myself to discovering and promoting the hidden gems of the region. Armed with a tourism guide certification, I earned the authorization to serve as a local guide - an opportunity that allowed me to share the magic of Bukovina with others. LOCATION Bukovina ROMANIA CAMERA/S Canon Powershot SX 540HS and SonyDSC-XV60V WEBSITE https://carpathianstories.picfair.com/ @_ANAMARIAALB_ @ANAMARIAALB FEATURES // A Tale of Nature and Heritage

Jasper is a calm and collected street photographer who has built a name for himself in street photography and whose works have been recognized and featured by various local and international publications both online and in print. His street photography started as a result of reaching a plateau in his creative growth. After exploring various genres in photography, he discovered the works of Magnum photographers Henri Cartier-Bresson, Alex Webb, David Alan Harvey and Harry Gruyaert. Their style of documenting the world blew him away. In 2012, in part thanks to their inspiration, he started seeing the world through a different lens. Since then, street photography has become his genre of choice. When he is not out there practicing street photography, he is wearing his corporate HR hat or doting on his son giving the little tyke basics on photography or simply enjoying his cup of coffee with his wife and creative partner, with his camera in tow just in case. JASPER TEJANO Jasper is a calm and collected street photographer who has built a name for himself in street photography and whose works have been recognized and featured by various local and international publications both online and in print. His street photography started as a result of reaching a plateau in his creative growth. After exploring various genres in photography, he discovered the works of Magnum photographers Henri Cartier-Bresson, Alex Webb, David Alan Harvey and Harry Gruyaert. Their style of documenting the world blew him away. In 2012, in part thanks to their inspiration, he started seeing the world through a different lens. Since then, street photography has become his genre of choice. When he is not out there practicing street photography, he is wearing his corporate HR hat or doting on his son giving the little tyke basics on photography or simply enjoying his cup of coffee with his wife and creative partner, with his camera in tow just in case. LOCATION PHILIPPINES CAMERA/S Olympus OM-D E-M10ii, Ricoh GR2, iPhone WEBSITE http://www.jaspertejano.onuniverse.com @JASPERTEJANO FEATURES // Creative Focus

Just before my father died, he gave me a Kodak Retinette 1B for my 13th birthday and the world suddenly became a photograph. It's his legacy. I believe in the idea that sometimes the photo you take knows more than you do. I try to take photos with compassion for the subject. PETER CHELSOM Just before my father died, he gave me a Kodak Retinette 1B for my 13th birthday and the world suddenly became a photograph. It's his legacy. I believe in the idea that sometimes the photo you take knows more than you do. I try to take photos with compassion for the subject. LOCATION Los Angeles UNITED STATES CAMERA/S Pentax ME Super. Canon 5D mk iii, Fuji X-E3 WEBSITE https://www.peterchelsomphotography.com/ @PETERCHELSOM FEATURES // Alternate Reality

I am a street and documentary photojournalist who lives and works in Austin, Texas. My main focus is on black and white portrait photography as I explore the culturally rich narratives of downtown and East Austin. I love unexpected conversations with strangers and training my eye on those people and causes most overlooked. CAMILLE WHEELER I am a street and documentary photojournalist who lives and works in Austin, Texas. My main focus is on black and white portrait photography as I explore the culturally rich narratives of downtown and East Austin. I love unexpected conversations with strangers and training my eye on those people and causes most overlooked. LOCATION Texas USA CAMERA/S Fuji X-T3 WEBSITE https://camillejwheeler.com/ @CAMILLEWHEELS FEATURES // Amy's Ashes Representing the People

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

I am a fiction writer and photographer from Calcutta and New York. My work has been featured in journals like the New York Review of Books and the New York Times Lens Blog and exhibited at places like the International Center of Photography, Art Basel Miami, and other venues around the world. In 2023, Fall Line Press published my first photo book, Photowali Didi, a project born from a five-year relationship with the residents of a nearby slum — a collaboration that deeply shaped my work and perspective. My first book of fiction, Not Quite A Disaster After All, is also out in the world. I currently teach part-time at International Center of Photography, and my first poetry collection is forthcoming in Fall 2025. Right now, I'm working on two projects close to my heart: Women and Bodies and Gender and Bodies in Art. BUKU SARKAR I am a fiction writer and photographer from Calcutta and New York. My work has been featured in journals like the New York Review of Books and the New York Times Lens Blog and exhibited at places like the International Center of Photography, Art Basel Miami, and other venues around the world. In 2023, Fall Line Press published my first photo book, Photowali Didi, a project born from a five-year relationship with the residents of a nearby slum — a collaboration that deeply shaped my work and perspective. My first book of fiction, Not Quite A Disaster After All, is also out in the world. I currently teach part-time at International Center of Photography, and my first poetry collection is forthcoming in Fall 2025. Right now, I'm working on two projects close to my heart: Women and Bodies and Gender and Bodies in Art. LOCATION Paris FRANCE CAMERA/S Leica m240 WEBSITE https://www.bukusarkar.com/ @BUKUAGAIN @bukusarkar FEATURES // The Ghost Self

Wherever you are, I shoot you! At an exhibition of my work, a lady asked me how I could photograph people so easily. I told her that I could never wait for half a day, hidden in a bush, for a moorhen to come in front of my lens. I am a very sociable person and like to talk to everyone, before or after I press the shutter button on my camera. This is rather difficult with moorhens or other friendly animals. Street photography is for me an artistic discipline that I practice simply, without asking myself 1000 questions. I always look for contact, close proximity to people. I always like to face them to photograph them. Looking is learning. NOISY KID Wherever you are, I shoot you! At an exhibition of my work, a lady asked me how I could photograph people so easily. I told her that I could never wait for half a day, hidden in a bush, for a moorhen to come in front of my lens. I am a very sociable person and like to talk to everyone, before or after I press the shutter button on my camera. This is rather difficult with moorhens or other friendly animals. Street photography is for me an artistic discipline that I practice simply, without asking myself 1000 questions. I always look for contact, close proximity to people. I always like to face them to photograph them. Looking is learning. LOCATION Brussels BELGIUM CAMERA/S Nikon D750 WEBSITE https://www.noisykid.pictures/ @NOISY.KID @NOISYKIDPICTURES FEATURES // Making Noise

LOOKING FOR SOMEONE OR SOMETHING? go search Price USD 99.00 USD 99.00 1 item found for "" THE PICTORIAL LIST: VOLUME ONE - NEW YORK $99.00 Out of Stock