Search this site

BURN AND DODGE Canadian street photographer David Lawless likes to strip his images down to their basic parts to use light and shadow as a graphic element. BURN AND DODGE January 18, 2021 INTERVIEW PHOTOGRAPHY David Lawless INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE David Lawless is a sous chef from Winnipeg, Canada, with a creative eye for capturing the beauty of life around him. When he’s not creating dishes, you can find him with his camera in hand, shooting stunning black and white street photography. Inspired by masters like Ray Metzger, Trent Parke and Fan Ho, David strives to capture the raw beauty of everyday life and to create stunning images with light as its primary focus. Through his striking photos, he hopes to bring attention to moments that would otherwise go unnoticed. “Winnipeg isn't a big city and when you've lived in the same place your whole life things can become mundane. Been there, done that, took a photo. I think that's a situation a lot of photographers face. I guarantee if I showed a random photo of Winnipeg to someone who's lived here as long as I have they could tell me exactly where it was taken and the best route to get there. What I would like to express through my photography is a lesser-known Winnipeg. To take something commonplace and show it in a unique light. I try to include line, shape and form in all of my photos. Those are my favourite photographic elements. I do like texture as well but that doesn't always fit in with the more graphic style of photo I currently prefer.” IN CONVERSATION WITH DAVID LAWLESS THE PICTORIAL LIST: David please tell us about yourself. How did you become interested in photography? DAVID LAWLESS: I was born and raised in Winnipeg, Manitoba Canada and I am still living here today. I have a job as the executive sous chef at a private club in the city, along with a wife and two cats. My interest in photography came later in life and was sparked by my father who has been a hobbyist photographer for as long as I can remember. We took a trip to the UK in 2011 and I remember him bringing along his new DSLR. Watching him in the process of shooting, editing and then seeing the finished product excited me and I knew that photography was something I wanted to try. When I arrived home I purchased my first camera, a Canon Rebel for less than $300. At the start of my photographic journey, my subjects were very different. I was drawn to nature and spent many hours chasing insects and hanging around flower beds. This went on for years and it wasn't until I started looking into online art communities that I discovered street photography, which took me in a very different direction. TPL: Where do you find your inspiration to photograph? DL: One of the places I find inspiration is photographers I follow on Instagram. There are quite a few photographers I admire on the social media site who are really fantastic. These are people who have the ability to show consistency and creativity through their work, which is something I'm working toward with my own photography. TPL: Do you have a favourite place(s) to shoot in? DL: No. Where I like to shoot changes often and usually corresponds to my last successful photo. If I feel I've captured something special in a certain place I may go back a few times and see if I can get another useful shot. But basically, if I have a camera in hand, I'm happy to shoot anywhere. TPL: What happens when you walk the streets with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? DL: I've had a few negative reactions from people but nothing I wasn't able to defuse. I do my best to be confident and act in a way that shows I'm not doing anything wrong. I think when you give off nervous energy, people become suspicious and start to wonder what you might be up to. I smile and explain myself when necessary. Once someone knows I'm not out to cause any trouble they usually go about their business. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DL: I am probably most inspired by the work of photographers Ray Metzger, Trent Parke and Fan Ho. They are masters of using light and shadow as graphic elements in their compositions. This is something I practice and look for in my own images. It happens once and then it's gone...leaving bugger all. This makes me think about the fleeting nature of street photography. It reminds me to stay focused in the moment or risk missing the shot. 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? DL: I have a couple of different cameras but the one I use for my street photography is a Canon EOS M3 with a 22mm f/2 prime lens. The M3 is perfect for street photography because it's small and goes unnoticed. As far as the technology and image quality goes, it's pretty dated. I keep thinking about getting an upgrade but the graininess and low dynamic range of the M3 gives my photos a certain look that I would like to keep. So in this instance, I guess my dated old M3 does help me achieve a certain vision. TPL: When you go out on the streets, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? DL: A little of both. My shooting process is for the most part reactive. I like to wander around looking for graphic elements, interesting light and shadow. If I find someplace that has potential I'll stop for a while and frame-up different compositions to see if there's a shot to be had. I tend to get ideas or concepts after I've visited a spot a couple of times and may go back to see if I can't capture the idea I see in my head TPL: Have you ever been involved in the artistic world before photography? DL: Not in the strict sense. I used to draw quite a bit as a child and have dabbled with painting and sculpting. I've even taken a couple of graphic design courses. But none of that speaks to me the way photography does. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? DL: My photography goals are simple, to stay consistent, have fun and shoot as much as possible. For me, photography is a hobby. I have a full-time job, so photography doesn't have to be more than it is, it can be pure enjoyment. I find that when I put too much pressure on myself with regards to photography it starts to feel a lot like work. The more pressure to attain certain goals the less I want to shoot. Which is something no photographer wants. So I'm not looking that far ahead, right now I just want to move forward, one step at a time and appreciate the process of making photos. TPL: When I am not out photographing, I (like to)… DL: I have been interested in Brazilian Jiu-Jitsu for about ten years. For those who might not be familiar with Brazilian jiu-jitsu, it's a martial art and combat sport that revolves around grappling, submission holds and the skill of taking an opponent to the ground. Once on the ground, the idea is to control your opponent, gain a dominant position and use several techniques to force a submission by way of a joint lock chokehold. 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.

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

Raised in Sheepshead Bay long before Brooklyn was hip, I made my escape - college in Boston, then off to pursue the life of a freelance photographer, first in Manhattan and then in Los Angeles. I shot environmental portraits for national and international magazines and corporations, including Money, Forbes, NY Times Magazine, People, Sport Diver, IBM, Philip Morris and many more. But wanderlust won out, and with credit cards, cameras and scuba gear in tow I traveled the world alone, writing and shooting quirky adventure stories. Then I took a long, unintended hiatus from my cameras. A few years ago, forces brought me back to Brooklyn. I rediscovered Coney Island, the happy place of childhood, of riding the Cyclone, hot dogs and frogs legs at Nathan's, the freak show on the boardwalk. What began as casual iPhone photos turned into a winter with the Polar Bears, spring shooting the Mermaid Parade, and summer with the last of the genuine eccentrics in Coney Island’s strange confluence of urban life and the sea. AJ BERNSTEIN Raised in Sheepshead Bay long before Brooklyn was hip, I made my escape - college in Boston, then off to pursue the life of a freelance photographer, first in Manhattan and then in Los Angeles. I shot environmental portraits for national and international magazines and corporations, including Money, Forbes, NY Times Magazine, People, Sport Diver, IBM, Philip Morris and many more. But wanderlust won out, and with credit cards, cameras and scuba gear in tow I traveled the world alone, writing and shooting quirky adventure stories. Then I took a long, unintended hiatus from my cameras. A few years ago, forces brought me back to Brooklyn. I rediscovered Coney Island, the happy place of childhood, of riding the Cyclone, hot dogs and frogs legs at Nathan's, the freak show on the boardwalk. What began as casual iPhone photos turned into a winter with the Polar Bears, spring shooting the Mermaid Parade, and summer with the last of the genuine eccentrics in Coney Island’s strange confluence of urban life and the sea. LOCATION New York UNITED STATES CAMERA/S Canon R5 WEBSITE https://www.ajbernsteinphotos.com/ @AJBERNSTEINPHOTOS @AJBERNSTEINPHOTOS FEATURES // Mermaid Magic

PICTORIAL STORY 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. May 11, 2025 PICTORIAL STORY photography REGINA MELO story REGINA MELO introduction KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Born and raised in Brazil and living in Connecticut with her husband since 1995, Regina Melo is an autodidact photographer who works primarily with natural light. Her journey with the camera began with food and crafts, captured in a personal blog she maintained from 2011 to 2014. But over time, photography became something more — a way to hold on, to make sense of memory, emotion, and the quiet beauty of everyday life. In a world filled with noise and contradiction, the act of taking a photograph became her way of listening closely — to herself, to the world, to the stories that often go untold. Caring for a loved one, especially in their later years, can be all-consuming and emotionally overwhelming. For Regina, the challenge was intensified by distance — living far from her mother meant she could only offer care during short visits, witnessing from afar the quiet changes that signaled the passing of time. Her mother had slowly begun to retreat from the daily rhythms that once brought her joy. And yet, in those visits, there were still moments of closeness, of deep connection that spoke louder than words. By what felt like grace — or perhaps the invisible thread that so often binds mothers and daughters—Regina happened to be there, holding her mother’s hands, at the exact moment she took her last breath. Her mother passed away from a heart attack, gently and unexpectedly, at the age of 98. That final moment, filled with silence and presence, left Regina with profound sadness, but also with a sense of spiritual closeness — a quiet knowing that, somehow, they had been exactly where they needed to be. It was a goodbye, but also a deep, sacred recognition of love’s enduring presence. Whispers – A Love Letter to My Mother is Regina’s way of navigating that loss — of honoring her mother’s life and presence through image and memory. Created in the quiet aftermath of grief, this project offers an intimate window into the final chapters of a mother-daughter bond. It is tender, unguarded, and deeply personal. It is also, in many ways, universal. Before the quarantine of 2020, Regina offered her photographic skills as a volunteer for nonprofits, using her lens in service of others. But Whispers marks a return inward — toward family, toward home, toward the spaces where love and longing live side by side. Through each image, Regina captures not only what was lost, but also what remains: gestures, textures, light. The way love lingers, even after the physical form is gone. On Mother’s Day, this 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 — across time, across distance, even across silence. Whispers is a tribute, a farewell, and a thank you. A love letter written not in words, but in light. A Love Letter to My Mother On the evening of November 14th, 2022, holding my hands, my mother unexpectedly passed away. She was 98 years old. I say she died unexpectedly because she was not sick, she was at home. She was sleeping and woke up not feeling well. She had a heart attack. For the last few years before her death, every time I went back to Brazil, I started noticing changes in her daily routine. She stopped cooking, crocheting, knitting, and tending to her plants, all things she loved to do, and she started repeating stories over and over. She would sit alone, lost in her thoughts, looking fragile, lonely and vulnerable. That's when I started taking pictures of her, hoping to capture those moments to preserve and not forget them. Whispers - a Love Letter to My Mother, is an immersive introspection into the world of my mother, fragments of her final years; it's a personal project, yet I believe it speaks of universal subjects — unconditional love, the slow passing of time, the abiding feeling of loneliness that comes with the finitude of late old age. It was intimidating to capture the essence of someone I love in a photograph. However, it helped me to become very conscious of her vulnerability at those moments in her life. They were intimate and meaningful moments, yet emotionally exhausting and heartbreaking. I would be by her side for hours, listening to her stories, caring for her, sleeping with her, immersing myself in her world. For the first time since my mother passed away, I went back to her house last February. It was overwhelming and painful to be back there. Grief is weird; like everything else, it's different for everyone. For me, it hasn't been one long period of mourning, but rather many little things - missing calling her every Sunday, the lovely way she looked at me, her teaching me how to make everything neat and beautiful. She threw nothing away; instead, she always found a clever way to reuse it. Listening to her stories about growing up in a small village where most inhabitants were her relatives, or my father's. Her coffee, ah, her coffee, how I miss it! Every time I visited her, she would be waiting for me at the front door, no sooner had I arrived she would say, “This time you are going to stay longer, aren't you?” I miss returning home; that's what she was to me - home. My heart breaks when I think of her, and at the same time, I feel overwhelmed with joy when I see and hear the first signs of Spring, when I buy myself flowers, and have a cup of coffee on a silent misty morning; or when the warmth of the sun hits my face after a long winter, and my husband and I go for a walk in nature, or simply dance alone in the house. Joy and sorrow - maybe that's the only way to fully experience life. © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo © Regina Melo Whispers – A Love Letter to My Mother is more than a photographic project; it is Regina’s way of holding on. Each image is a fragment of memory, a way of preserving presence in the face of absence. Through her portraits of her mother and visual narrative, she offers a meditation on love, grief, and the enduring tenderness of the mother-daughter bond. For Regina, photography became a way to stay close — to see clearly, to listen deeply, to honor the small and sacred details of her mother’s final years. In capturing these moments, she wasn’t just documenting change; she was bearing witness to a life. To the silences. To the rituals. To the everyday grace that still lived in the corners of her mother’s world. And though her mother is no longer here, Regina continues to feel her presence — in the scent of morning coffee, in the way sunlight fills a quiet room, in the tender ache of memory stirred by the seasons. Love, she has learned, does not vanish. It shifts. It settles into new shapes. It lives in gestures, in stories, in the spaces we return to when we long for home. This project is both deeply personal and quietly universal. On Mother’s Day, Whispers invites us to pause and reflect on the women who raised us, shaped us, and loved us — often in ways that went unnoticed. It is a moment to remember, to honor, and perhaps, to see our mothers with new eyes. Whispers is a tribute, a farewell, and a gentle reminder that even in loss, a mother’s love continues to speak — softly, steadily, like a whisper. Throughout the years, Regina has expanded her photographic perspective and refined her craft through numerous workshops and participation in online photo salons. She has sought guidance from distinguished photographers such as Teresa Freitas, Dara Scully, and Oliver Mayhall at Domestika, Alec Soth and Joel Meyerowitz at Magnum Photos, as well as other renowned instructors like Laura Valenti, Leah Zawadzki, Roxanne Bryant, Deb Schwedhelm, Anita Perminova, and Jen Bilodeau. She has also worked with Aran Goyoaga in Portugal and Béa Peltre in England. These experiences have enriched her artistic vision and deepened her understanding of the power of photography as a medium for storytelling. Regina has also used her photographic skills in volunteer work for non-profit organizations, which has further connected her craft to meaningful causes. Her work has been featured in notable publications, including a 2024 creative collaboration with Docu Magazine and Blurb Books, and as a selected contributor in C2H Photography Magazine in 2022 and 2021. She was also featured in Visual Voices Magazine in 2022, where her photo essays were highlighted alongside the work of twelve other photographers. Additionally, her photographs appeared in Fine Gardening Magazine in 2020, showcasing a wildlife-friendly garden in Connecticut. Her dedication and talent have been recognized with accolades, including Second Place for the Whispers Project in 2022’s Book of the Month and Third Place for 5 Blocks from Home in the 2020 James Maher Photography online competition. Regina’s work continues to evolve as she captures the complexities of life through her lens, offering both intimate and universal perspectives on the world around her. As Whispers comes to a close, the silence it leaves behind lingers — soft, familiar, and full of memory. In honoring her mother, Regina found herself returning to a deeper question that lives quietly within so many of us: “What is home? Is it a place, a person, a moment in time — or something we carry inside, shaped by love, loss, and the passage of time?” For a further look into Regina’s world of visual storytelling, follow the link and engage more of her inspirational photography. Learn more about her process and her approach to creating photography. view Regina's portfolio Website >>> Instagram >>> Buy book >>> 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 was born in Vercelli a little city in the northern part of Italy where I still live today. The first approach with a camera was seven years ago. At first I was fascinated by night photography and starry skies, that was until I discovered street photography. I have travelled in the last seven years and I have taken so many street shots in many cities that in my opinion are perfect for this photography genre, like New York City, Los Angeles, London but also Milan and Genova in my beloved Italy. In this series I have enjoyed reworking shots that initially didn't convince me or that I thought was 'wrong'. I have been superimposing and working them until I have reached the result I wanted, trying to create my own style and give a personality to these shots. I like photography to communicate something, to evoke a sensation already experienced. I try to select only the photos that according to and can convey something to the viewer, it works a bit like music, to tell a story or a state of mind. LELE BISSOLI I was born in Vercelli a little city in the northern part of Italy where I still live today. The first approach with a camera was seven years ago. At first I was fascinated by night photography and starry skies, that was until I discovered street photography. I have travelled in the last seven years and I have taken so many street shots in many cities that in my opinion are perfect for this photography genre, like New York City, Los Angeles, London but also Milan and Genova in my beloved Italy. In this series I have enjoyed reworking shots that initially didn't convince me or that I thought was 'wrong'. I have been superimposing and working them until I have reached the result I wanted, trying to create my own style and give a personality to these shots. I like photography to communicate something, to evoke a sensation already experienced. I try to select only the photos that according to and can convey something to the viewer, it works a bit like music, to tell a story or a state of mind. LOCATION Vercelli ITALY CAMERA/S Fujifilm XT2 , Canon Eos 70D WEBSITE https://lelebissoli.portfoliobox.net/ @LELE_BISSOLI FEATURES // Reverberation

I am a passionate photographer with a strong preference for black and white. When I am out shooting, I'm always imagining how it will look edited in black and white...always concentrating to get the geometry, light and that decisive moment good all in one shot, giving an instant kick when it all falls into place! BENNY VAN DEN BULKE I am a passionate photographer with a strong preference for black and white. When I am out shooting, I'm always imagining how it will look edited in black and white...always concentrating to get the geometry, light and that decisive moment good all in one shot, giving an instant kick when it all falls into place! LOCATION Adegem BELGIUM CAMERA/S Nikon D800e, D750 and Fuji X100f WEBSITE https://www.bennybulke.com/ @BENNYBULKE @BENNYBULKE FEATURES // Fine Art Street

PICTORIAL STORY ISLAND You are invited into an introspective journey that mirrors Enzo Crispino’s rediscovery of his voice in photography after a prolonged period of creative estrangement. January 19, 2025 PICTORIAL STORY photography ENZO CRISPINO story ENZO CRISPINO introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Enzo Crispino’s latest photographic series, Nêsos , invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. Drawing from the Greek term for island , the project serves as both a personal metaphor and a visual exploration of isolation, self-reflection, and the human condition. Enzo, a self-taught photographer recognized for his works housed in collections such as the Italian War History Museum, the Reggio Emilia Civic Museum, and the Ros Photo State Museum channels his meditative perspective into visceral and intimate compositions. This series is strongly shaped by Enzo’s broader artistic and literary journey. During the global pandemic, when his connection to photography waned, Enzo turned to poetry, composing verses that gave form to his emotions. His poems became a means of expression during a period of creative stillness. One of these poems, titled Nêsos , now frames the narrative arc of this photo essay, blending visual storytelling with the written word. Enzo’s photographs, suffused with chiaroscuro and grounded in quiet reflection, unfold as a meditation on solitude and the fragmented self. Each image highlights ordinary objects and spaces imbued with symbolic weight — windows into the intangible world of memory, loss, and self-examination. Through this project, Enzo Crispino not only reestablishes his connection to photography but also transforms it into a compelling dialogue of light, shadow, and the human experience. Nêsos (from the Greek language: island) It is evening I close behind me the front door of the house An island in the lost sea that devoured Atlantis Silence stands as a barrier protects me from the cacophony and from my melancholies that find peace in these dark lights I contemplate the shadows guards that veil affections traces and findings In each of them parts of me... ~ Enzo Crispino For a long time, I no longer felt the wonderful input of hearing a new idea for a photographic project. For almost two years I no longer picked up the camera, I felt I had nothing more to communicate, all I saw around me were fences and the delightful sound of the shutter no longer lit up my eyes. During this persistent phase of disenchantment with photography, in which I still live, amidst countless questions that I asked myself and still ask myself, I realized this project that I had had in my head for years, but which only came to life last May. The introduction to this project is this poem of mine with the same title that I wrote while editing the photographs in post-production. It was not my original intention to write poetry, I had never thought about it and it was not in my ambition to try my hand at writing. It was unintentionally on a Saturday morning, during the pandemic, that I wrote my first poem entitled Arid Eyes on a small Post-it note, a few lines dedicated precisely to the situation of isolation in which we were forced to live and where our gaze day after day began to become more and more arid. Writing verses here was salvific for me, and since then I have written 18 and some of them, including the first Arid Eyes , have received various prizes in national literary competitions. Through poetry I had accidentally found another possibility to externalize a feeling of mine, which had been blocked during my phase of moving away from photographic production, towards which I had long felt a sense of estrangement. © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino © Enzo Crispino In Nêsos , Enzo Crispino creates a space for reflection and self-discovery, offering a powerful look into his personal journey of reconnection with photography. The series is not only a return to the medium but also an exploration of themes like isolation, memory, and the passage of time. Through his thoughtful use of light and shadow, Enzo elevates everyday moments into profound, contemplative images that ask the viewer to pause and reflect. What makes Nêsos truly compelling is its seamless integration of visual and literary expression. Enzo’s unexpected shift to writing during the pandemic allowed him to explore emotions that had previously felt blocked. This collaboration of forms gives the project a depth and intimacy that wouldn’t have been possible with photography alone — words and images, light and dark, silence and sound. Enzo Crispino demonstrates the power of art to evolve. Through this series, he reminds us that even in isolation, there’s room for growth and creativity. It’s a reminder of the ways art can reconnect us with ourselves and with others, even in the quietest of moments. view Enzo Crispino's portfolio Interview with Enzo >>> 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.

ARCHAEOLOGICAL PARADOXES Living in Nice, Annette Lang uses her camera to witness life beyond the postcard views and to celebrate the beauty of everyday people. ARCHAEOLOGICAL PARADOXES August 26, 2020 INTERVIEW PHOTOGRAPHY Annette Lang INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE The Mediterranean coastal town of Nice, France, is known for its beautiful azure blue waters, white sand beaches, and breathtaking views. But local photographer Annette Lang has discovered a different kind of beauty that lies beneath the postcard view, one that she has documented through her lens in a series of captivating photographs. Through her work, Annette seeks to capture the stories and moments of people’s everyday lives in a vibrant and painterly style, using the color blue to symbolize the beauty of the region’s moniker, ‘Cote d’Azur.’ As long as she can remember, Annette has been captivated by the seemingly mundane moments of everyday life and the web of cultural and personal significations that she finds within them. From an early age, she could appreciate the unique landscape she would be dropped off in and then pick up from hours later. It was this fascination that led her to pursue anthropology and cultural linguistics and eventually to her current passion for photography. Now calling Nice home, Annette uses her camera to express the life beyond postcard views and to celebrate the ever-changing beauty of the town. She loves catching those tiny fleeting moments that tell larger stories and create larger meanings. In her latest series of photographs, Annette has explored the colour blue more intensively to reveal a depth of emotion and meaning that lies beneath its depiction as ‘Cote d’Azur’. Her work is whimsical and beautiful, inviting viewers to linger in the moment and allowing them to experience the majesty of an ordinary day in Nice, that just makes you crave summer or hope it never ends, depending on which hemisphere you live in. Annette Lang’s photography is a celebration of the ordinary, a reminder that beauty is everywhere if we are willing to take the time to notice it. Through her lens, we are invited to explore the hidden stories and feelings behind everyday life in Nice and to reflect on our own experiences. Come along as we delve into Annette Lang's work and uncover all that it has to offer. The real voyage of discovery does not consist in seeking new landscapes, but in seeing it with new eyes. - Marcel Proust “Photography is exactly that mental voyage of discovery. The viewfinder, making me see beauty where there was a concrete wall before. And seeing the world through other photographers' eyes is very eye opening and always a new ticket to a discovery trip. The last decades have shown that a lot of people travel, without mentally moving away from their standards, assumptions and expectations. It's often about seeking the milder climate, the bluer sky or the wilder ocean. If that travel doesn't occur in our minds, that we risk to ultimately reinforce our prejudices. It demands an effort to step back from what we want to see to really see. I am of course working on that myself.” IN CONVERSATION WITH ANNETTE LANG THE PICTORIAL LIST: Welcome to The List Annette. Please tell us about yourself. When did you start getting interested in photography? ANNETTE LANG: I was born in rural Germany. From that childhood, I keep among other memories that of people constantly observing each other, curious to know who was doing what and somehow eager to spot something exciting. I would never have thought it at that time, but it significantly influenced my gaze upon the world around me, doping my observation skills all while skipping the potentially judgmental streak. I also left me with a deep understanding how important a local community is and that membership involves both benefiting from and contributing to it. I left Germany on a study grant for Lyon, France. I immediately loved living in a big city discovering that different areas kept and thrived on their village character. After graduating in anthropology and cultural linguistics, I spent some years in lecturing and research before transiting into the corporate world. I was lucky to work in the video game and augmented reality sector as a consulting anthropologist and intercultural advisor at the beginning of the new millenium when the whole concept of a virtual world sounded like a substance fueled utopia. Ever since, I have been working both in higher education and the corporate world, travelling for both professional and personal reasons, constantly focused on my very fundamental interest - people and cultures. At the same time, I had my three boys within four years - my by far biggest source of happiness and most exciting trip, above all for myself. Raising them on my own, it has at times been a little sporty and bumpy, chaotic and creative, but a wonderful journey. Photography has been the one element allowing me to hyphenate it all. When on a field trip or otherwise abroad, I had photos of my boys with me. I brought the big wild world back home in pictures and used them during lectures to foster curiosity and to open minds. My first conscious use of photography was during a stay in Mumbai, using the lens as both a looking glass for better understanding and celebration and beauty, and as a shield for the heartbreaking sights. I seem to be twisting a lot in this immersion - distance dichotomy with my camera. TPL: Where do you find your inspiration? AL: This is where we sort of go full circle, back to my village childhood. I find my inspiration in the ordinary life around me, the seemingly unexciting scenes of everyday life. I recently described my street photographer self as that of a truffle pig happily roaming around in the undergrowth. Nobody would call a truffle beautiful when inside the forest, nobody would even give it a second look. Once on the table, it is then hailed as a delicacy. I often feel the same about my street photography. The scene looks boring everyday tasteless and tedious, but holds all the potential for an eyeful of flavours and spices. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? AL: My photography sets out to celebrate the beauty of real life and of real people in an iconic place known for its scenic views and often instagrammable places. I operate on a much trodden territory to deter the hidden visual gems of human life. As a village child, I always feel more like a member of a community than as a a mere inhabitant. With my camera, I try to act as the liaison agent or go-between between the community that surrounds me and the viewer of the picture in a relationship of visual ambassadorship. My street photography reflects my curiosity with regard to different life paths whose bends and curves make each personal history unique and precious. The moment I press the shutter, the subjects' and my own life path cross leaving a lasting imprint on mine. Street photography is the visual translation of a brief encounter into a mute and yet luminous visual language. My pictures often, but not exclusively, show single subjects allowing me to fully concentrate on every tiny expressive element when pressing the shutter. I put people centre stage without ever exposing them. Understanding life as an often unexpected and even improbable occurrence of co-existing elements, my photography intends to freeze these in an attempt to create a seemingly paradoxical archaeology of present times. Pressing the shutter button enables me to pause the passage of time for a split second I order to shine light on the seemingly mundane, yet poetic qualities of human encounters and emotions. Comparable to a film still, I try to spur the viewer’s curiosity, imagination and empathy through my photography as to the before and after naturally attached to each frame. My aim is to offer the viewer a glimpse into a stranger’s life inviting them to uncover - in their mind’s eye - what might have been and what might be once that split second has passed. I put particular attention on making sure people in my frames are free to walk their very own path again, without my photo putting a tripping stone on their way through unrespectful exposure. The subject of my frame is a person in real life and as such deserves respect and benevolent attention. I believe that the world would be a better place of we looked beyond big figures and representations of groups to concentrate on individual people. However analytical or seemingly accurate a collective or generalization is, every single person can transcend. Through my photography, I would want people to visually meet people and thus open mental passages. To a certain extent, I would want my photos to be a visual Esperanto, allowing people to relate to a place by understanding its human dimension. The central element in my pictures are people. I am currently trying to use larger frames to see people in a wider context. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AL: For reasons I ignore, I am often more inspired by humanly accessible people than by the true masters. I somehow feel too insignificant to claim inspiration by people like Henri Cartier Bresson, Dorothea Lange or Ruth Orkin. It feels like whistling in the street and claiming Bach as an inspiration. Instagram has been truly a treasure trop of inspiration, with so many talented people having each something to learn from. Adrian Whear for composing wider frames with people having an essential role of scale and meaning as well as his portraits, Iddo Pehdazur for color and color coordination, Anna Biret for horizontal layering and particular framing, Gisèle Duprez for life scenes, Vicki Windman for her eye for surprising or touching details, Bayéré Zouzoua for soul touching black and white, and many others…The problem here is omitting people…and I’m not mentioning any of The Pictorial List team members here not to sound 'fawning'. Talking about seizing life, I am deeply impressed by Hokusai and his manga art in the original meaning of impromptu pictures. He was one of the first to consider everyday life scenes as worthy to be recorded. I prefer his sketches to his ukiyo-e. I feel inspired by orchestra music by how every single voice is needed to create that overwhelming sound. It’s similar to how a frame needs to be composed, with the photographer being the conductor. My eye sometimes is mentally on music. TPL: Has your style of photographing changed since you first started? AL: I hope so. I think I have evolved on composing the frame beyond the central subject. Looking through my pictures, they seem to 'grow' like my children – going chubby, grow in height, go chubby again, stretch again. My frames were too close, then to wide, closing in, reaching out…I’m trying to progress every day. TPL: Where is your favourite place to photograph? AL: Definitely the street. Since I gave up travelling to finance my sons’ studies, I have chosen my direct neighborhood, declaring it my favorite place. My favorite place are the little alleys and surprising corners as well as the odd Promenade shot for a soul lifting dose of blue. My photography sets out to celebrate the beauty of real life and of real people in an iconic place known for its scenic views and often instagrammable places. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? What would you say to someone wanting to start out in your genre of photography? AL: As a very spontaneous street shooter, I definitely need a very good autofocus. I still prefer shooting through the viewfinder sometimes crawling on the ground. It still feels more organic to me. My two preferred focal lengths in full frame measures are 35mm and 85mm, one for context, one for people. My advice for newcomers sounds quite paradoxical and certainly stems from my musical paths: Don’t care about technique and do care about technique. Photography is first of all about seeing for me. Seeing with your eyes and heart, hone your vision. I would suggest sitting in a street cafés for hours to see life flow by and spot the wonders. Become a truffle pig of sorts. Then put the camera to all auto and concentrate on the scene. I knows it’s deeply frowned upon among street photographers but I think it’s a walking aid to start with. At the same time, know your camera inside out. Understand how aperture, speed and ISO work together, dive into field and spot measurements. Embrace a musician’s or martial art discipline and practice your scales and kata. Beyond understanding how it works, it’s about your fingers doing their part without any of your mental energy taken away. In music, you must be able to hear the sound before you play it. It’s similar in photography. See the scene when it is about to happen. TPL: Do you prefer to photograph alone or with company? AL: I definitely am more of a lone photographer. I’m so tuned in to my environment I’m afraid conversation with me would be very dull. TPL: Have you ever been involved in the artistic world before photography? AL: I have spend a lot of time with and put a lot of passion into music. I played the flute and loved playing in the orchestra most. I never considered it as a career option, most certainly out of lack of talent. Many of my best friends are professional orchestra musicians and music played an important role in my sons' childhood, so I have the chance to spend a lot of time around music. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AL: Operating within a strict legal frame on non-authorized pictures, street photography in France requires a high level of sensitivity and personal ethics. People in the streets are not a zoo you look at through the protective bars of a zoom lens, but a community that sustains street photographers as artists through their very existence. I would love to edit a picture book on people in Nice and to realize a project inspired by JR: printing people’s faces and expose them on the walls of the city. Give part of Nice back to the population and make the unnoticed and untouristy “hoi polloi” the stars again. TPL: Are there any special projects you are currently working on? AL: In addition to its sunny, glamorous side, Nice has a lot of homeless people. I regular engage with those in my neighborhood and am impressed by how observant they are. They are the invisible or the voluntarily overlooked, but they see us. I am thinking about a project that would equip them with cameras and have them document how they see us. It is only a budding idea right now. TPL: “When I am not out photographing, I (like to)... AL: Read. And cook. Sit in cafés and observe people. And listen to music." 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.

PICTORIAL STORY THE GOLDEN HOUR OF HAITI Inspired by the relationships she’s formed, Vanessa Cass has become gently woven into the fabric of life in Haiti — each connection adding depth to her journey and hers to theirs. November 5, 2021 PICTORIAL STORY photography VANESSA CASS story KAREN GHOSTLAW POMARICO SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Vanessa Cass is a single mother of two that has been living and working in Haiti for over twenty years, who has an outrageous passion for street photography. What brought Vanessa to Haiti, was an unfortunate set of circumstances. Vanessa was seven years old when she came to live in Haiti with her mother, older sister, and brother after her mother and father’s abusive marriage ended in a difficult divorce. Vanessa’s mother uprooted her three children and moved from Silver Spring, Maryland in the United States, to Haiti where her grandmother took them in. It has not always been easy assimilating into the culture, Vanessa was viewed as an outsider for many years, still feeling at times she is a square peg in a round hole, Vanessa has softened those corners and has found inspiration in the connections she has made, becoming a lovely thread in the colorful tapestry of Haiti. The Caribbean Island of Haiti has had a turbulent past, much like Vanessa’s. Originally inhabited by the Taino Kingdom, history changed on the then Island of Hispaniola when Christopher Columbus landed on its shores on December 6, 1492. Over the years of European exploration and exploitation, Spanish, French, African and American influences, it wasn't until 1804 that the Haitians took their independence back. Haiti has been plagued throughout history with natural disasters causing catastrophic destruction, combined with the political unrest creating many challenges for the people living there, poverty being one of the many effects they face. In spite of all of these harsh realities, Vanessa sees another country, one that enchants her and inspires Vanessa’s dramatic photographic style of work. Vanessa says, “Haiti is a country bursting with art, culture, music, food, a lot of faith, with a little bit of Voodoo.” A Jack of All Trades , Vanessa has found herself adapting to the changes in her country and it has actually given her the opportunity to explore many different career paths. She grew up in her family's antique business, and as an antique dealer she learned many things that helped to shape her future. Vanessa dabbles in painting, writing, curating, graphic design, and most recently opening a gourmet finishing salts and small batch hot sauce business. All of these passions bring Vanessa a great deal of pleasure. Vanessa told me “One day it dawned on me that I didn't have to limit myself to just doing one thing, art, photography, cooking, curating, writing, graphic design, I realized I could actually do everything all at the same time, and so I do!” Vanessa believes it helps to stay busy. So where did Vanessa find her passion for photography? Vanessa started studying art and was classically trained by the painter Roland Dorcely, who was himself trained by Pablo Picasso. Dorcely told Vanessa, “Painting is not your milieu, you do have talent but there is another part of the art world that is better for you, and everything you have learned with me will serve you when you find it.” Vanessa did find her art through photography. The inspiration for Vanessa’s work is reflected in her statement, “Faith is what gives the people of Haiti an incredible resilience to rise above and deal with a life that is difficult for anyone to understand that has not experienced life’s hardships. It shows in their impeccable starched and pressed clothes for church on Sunday mornings. It shows in the care they take in setting up their makeshift shops, shoeshine stands, and much more. This is the time of Golden Hour , when I like to walk the streets and observe. The shadows at this time of day are amazing and seem to have a life of their own. They tell a magical story that can't be heard but is felt. It shows you how strong, beautiful, and wild the people of Haiti are.” After looking at her mentor Roland Dorcely’s paintings, I saw a familiar quality in Vanessa’s work. The contrast in images, the hot bright light of the sun, and the deep darkness of the shadows, the faceless people are often reflected in Vanessa’s photographic work. Looking back on it she realizes the impact he had in her life. Vanessa’s first camera was from a friend and street photographer, and her first workshop was with Eric Kim. Once she had an eye for the street, there was no turning back. Historically Haitians really don't like to be photographed. Vanessa respects their beliefs and traditions and has developed her own style of shooting, stepping back to take in the larger view and to allow her subjects respectful space. Vanessa photographs her subjects in stride against textured walls of light and shadow. Vanessa admits, “Sometimes I get caught, get yelled at, but with a smile and a compliment, I usually get let off the hook, and they don't mind so much.” Vanessa’s photographs embrace the contrasts reflected in life on the street. The bright angelic white, not only familiar but comfortable with the darkness, not afraid of it, the darkness is as much a part of them as is the light. The mood changes in Haiti to reflect current events in the country. “When things are going well you can see it,” says Vanessa, “Everyone is smiling, there’s a pep in everyone’s step. When there is unrest or a catastrophe, the mood is very gloomy, but their resiliency is the strength that keeps the Haitians marching on”. Vanessa has lived, seen and photographed many things in the streets of Haiti. Being a single mother raising two children in Haiti has had its difficulties. Her family has witnessed horror, and tragedy, but they have found their own strength and resiliency from the people that have become their home and community. © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass © Vanessa Cass Haiti has made Vanessa tough, wise, empathetic, yet at the same time strong, and determined to fight for change. Photography and the Haitian people have been a constant source of inspiration for Vanessa and is why she is proud to call Haiti her home. This is not an ending to Vanessa’s story, there are many chapters to come. Vanessa is currently getting her degree in art history with a concentration in postmodern photography and will continue to share her art and unique style as an inspirational woman artist and photographer. view Vanessa's portfolio Read an interview with Vanessa >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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 am a fine art photographer, editor, and cultural manager. Born and raised in La Rioja, Spain, my career has led me to live in places like Los Angeles, Tokyo, Vientiane, Ibiza, or Madrid. In the past, I have developed my career in graphic design. However, photography was always one of my main interests, so in 2014 I started to fully devote myself to this “obsession”. I involve the subjects of my photography in the process of the work. My goal is to reorder experience rather than simply document it and bend appearances to match my subjective narrative priorities. The resulting images are caught in a tension between the staged story and the testimonial record, imbued with fantasy as much as reality, unreliable and open-ended, thus reflecting the instability of our times. When I take a photograph, I close the shot on the subject by getting very close and isolating the details. This approach results in those details acquiring an autonomous presence. They are no longer just identifying the subject, but rather they become "beings" in their own right. This process involves separating the image from its subject, so we no longer recognize a specific person, but instead see a fragment that serves me, as the author, to convey what I want to narrate and tell. Furthermore, when there is no subject to direct and channel our gaze, there is a great amount of detail that captures our attention, allowing for a wider range of possible interpretations, readings, and meanings. In this way, seeing becomes an active process, a shared experience between the author and the audience. My photography projects may last for years, with constant contact with the depicted subjects. This working process gives the pictures a natural intimacy that denies the audience the mere observer’s safe distance, all the while portraying a more complex and diverse representation of the world. My work has been widely published in specialized media and exhibited in both galleries and public institutions. I also co-coordinate the Photobook Club Madrid actively promoting the spread of photography culture through different events. In addition, I edit and design photo books and catalogues for fellow photographers. JUAN BARTE I am a fine art photographer, editor, and cultural manager. Born and raised in La Rioja, Spain, my career has led me to live in places like Los Angeles, Tokyo, Vientiane, Ibiza, or Madrid. In the past, I have developed my career in graphic design. However, photography was always one of my main interests, so in 2014 I started to fully devote myself to this “obsession”. I involve the subjects of my photography in the process of the work. My goal is to reorder experience rather than simply document it and bend appearances to match my subjective narrative priorities. The resulting images are caught in a tension between the staged story and the testimonial record, imbued with fantasy as much as reality, unreliable and open-ended, thus reflecting the instability of our times. When I take a photograph, I close the shot on the subject by getting very close and isolating the details. This approach results in those details acquiring an autonomous presence. They are no longer just identifying the subject, but rather they become "beings" in their own right. This process involves separating the image from its subject, so we no longer recognize a specific person, but instead see a fragment that serves me, as the author, to convey what I want to narrate and tell. Furthermore, when there is no subject to direct and channel our gaze, there is a great amount of detail that captures our attention, allowing for a wider range of possible interpretations, readings, and meanings. In this way, seeing becomes an active process, a shared experience between the author and the audience. My photography projects may last for years, with constant contact with the depicted subjects. This working process gives the pictures a natural intimacy that denies the audience the mere observer’s safe distance, all the while portraying a more complex and diverse representation of the world. My work has been widely published in specialized media and exhibited in both galleries and public institutions. I also co-coordinate the Photobook Club Madrid actively promoting the spread of photography culture through different events. In addition, I edit and design photo books and catalogues for fellow photographers. LOCATION Madrid SPAIN CAMERA/S Nikon WEBSITE https://juanbarte.com/projects/ @JUAN.BARTE FEATURES // Freedom Tastes Of Reality

PICTORIAL STORY DHARAVI Jimmy McBroom takes us inside Mumbai’s Dharavi, capturing the everyday strength of a community often reduced to stereotype. His photo essay invites us to look closer — not at poverty, but at people, lives lived with dignity, purpose, and quiet determination. July 30, 2021 PICTORIAL STORY photography JIMMY MCBROOM story JIMMY MCBROOM introduction MELANIE MEGGS SHARE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link Jimmy McBroom is a social documentarian, fearlessly delving into the depths of the human experience to capture the raw and powerful moments that define us. His vivid and honest depictions of life in both Palestine and India have attracted international attention, having been used in political theatre and as part of the Sheffield Palestine Solidarity campaign. Now, Jimmy presents us with a photo essay documenting the lives of the people living in Mumbai's Dharavi Slum. This is a visual journey through the heart and soul of a place too often overlooked and forgotten by the outside world, a place where humanity and resilience thrive in spite of oppressive circumstances. Through his photographs, Jimmy offers an unflinching yet deeply human perspective on life in Dharavi — revealing not just the hardships, but the enduring spirit that defines the community. Dharavi is considered to be one of Asia's largest slums and has an area of just over 2.1 square kilometers and a population of around 1 million. Dharavi is one of the most densely populated areas in the world. I spent three months in Mumbai exploring Dharavi, meeting locals and learning about the industries within. I met some of the most inspirational and resourceful people there. I witnessed happiness and community, Hindus and Muslims living together in one of the poorest and most overpopulated areas of the world. There are a lot of misconceptions about Dharavi. The media portrays Dharavi residents as 'down and outs' in films such as Slumdog Millionaire and Coldplay music videos. This is not what I experienced. I witnessed resourcefulness and community with limited resources. I was overwhelmed with the sense of community, ingenuity and resourcefulness of the inhabitants. With issues such as only having running water for one hour per day, a lack of any sewer system, hazardous obstacles such as live electric cables around nearly every corner of the tight mazes (which make up one of the world's largest slums), I still found Dharavi a warm magical and welcoming place to be. Maybe an example of true anarchy? I also asked myself what has the “Western world” lost or forgotten and what could it learn from Dharavi? The industries here not only support the residents but also help support the rest of Mumbai with rag-pickers cleaning up waste and taking it to Dharavi to be recycled. It is estimated that 80 per cent of Mumbai's solid waste is recycled into usable materials. The UK’s recycling rate was almost half that, with just under 45 per cent of household waste recycled in 2015. Other contributions to the economy of Mumbai and industries include recycling sorting centers, paint, clothing, tools, soap, wood sculpture, leather, including a handbag brand (Dharavi Handbag) sold in fashion outlets in the west, religious ornaments and many others. It's a crucial time for Dharavi; a government development plan is threatening industries and their survival. Through talking with locals, I've learned how detrimental this scheme is. The plan currently suggests that the tower blocks are to be built over the land which currently holds these important industries. The locals are reliant on work to survive, which the slum currently provides, but the government plan does not take this into account. Jobs will be lost. Another concern is that the foundations for the tower blocks would be unsafe as Dharavi is built on an old rubbish tip around a water pipe. There have been recent buildings and bridges collapse in Mumbai due to cheap design and foundation issues. Speaking to many residents and locals, around 95% of people are against the government scheme. Other ways of helping Dharavi would be to allow more than the 2 hours of restricted water per day (5.30am -7.30am) and better sewage and drainage systems for example. Since leaving Dharavi, it has been in my thoughts every day. I will soon return. Obviously Covid has affected us all. Last year WHO (World Health Organization) praised Dharavi's fight against Corona. They managed to work together and flatten the curve of cases. Their strategies and working together as a community worked better than the rest of Mumbai. Door to door testing was done and fast responses to anyone with symptoms. I have remained in contact with Dharavi residents since I was there and keep in regular contact with them. Unfortunately, in recent weeks there has been a huge rise in cases and deaths all over India. Resources are completely stretched to beyond comprehension. This wave leaves Dharavi completely alone to fight an even bigger wave of Covid. Remembering Dharavi is one of the most overpopulated places on earth, with up to ten people living together in a small room, it is a breeding ground for the virus. © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom © Jimmy McBroom The people of Dharavi are the most friendly, welcoming, beautiful, resourceful, and inspiring people I have ever met. They welcomed me into their homes, fed me, educated me, and touched my heart. view Jimmy's portfolio Read an interview with Jimmy >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> 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 am a New York based street photographer documenting the daily life on the streets of the city that never sleeps, embracing both its people and towering architecture. I began taking pictures at an early age with a Minolta SRT-201film camera and Kodachrome film. While I occasionally still shoot film, the majority of my photography is performed with mirrorless cameras from Sony and Ricoh with prime/fixed lenses. BILL LACEY I am a New York based street photographer documenting the daily life on the streets of the city that never sleeps, embracing both its people and towering architecture. I began taking pictures at an early age with a Minolta SRT-201film camera and Kodachrome film. While I occasionally still shoot film, the majority of my photography is performed with mirrorless cameras from Sony and Ricoh with prime/fixed lenses. LOCATION White Plains UNITED STATES CAMERA/S Sony A7Rii, Sony A6300, Sony RX1Rii, Ricoh GRiii WEBSITE http://www.dspbill.smugmug.com @DSPBILL @DSPBILL_BNW FEATURES // New York Improvisations