TARA SELLIOS ARTIST'S STATEMENT // I strive to create images that elegantly articulate the totality of existence, focusing heavily on life’s underlying instinctive, carnal nature in the face of fragility and impermanence. The concept of morality in relation to mortality has possessed a significant presence within the history of art, ranging from altarpieces to the work of the Dutch vanitas painters. Manifesting melancholic, seemingly damning themes with beauty and precision, as these artists did, results in an image that is seductive, forcing the viewer to look, despite its apparent grotesque and morbid nature. Through these images, I aspire to make apparent the restlessness of a life that is knowingly so temporary and vulnerable. I have always thought of my work as theater or as a book, with each series being an act or a chapter. In my prior work, the content was fleshy and lush, using wine and blood as frequent allegorical symbols inspired by Bacchanalia and Christian iconography. I now journey into a new narrative world where the feast has dried up and pleasure has subsided, transformed, and ultimately, transcended. The wine is replaced by dirt and the flesh has withered away to the bone in a seemingly apocalyptic way. Insects, including moths, beetles, cicadas and locusts are significant characters, multiplying throughout the series and eventually overtaking the tableaux. They introduce a heightened sense of the frantic primal instinct that exists within all living creatures, including humans. End of the world imagery and depictions of Hell from art history, as well as literature, such as Dante's Divine Comedy, has been a source of inspiration. These works possess a dramatic, eccentric, visceral chaos, while simultaneously possessing an ornate, sensual and romantic quality. Last Judgement paintings, like that from Michelangelo and Bosch, often depict skies filled with constellations of falling or flying angels, creatures and demons, which has become referential for the composition of the figures. The concept of Hell is varied and open to interpretation. It can be an actual physical terrain or a space within ourselves. As the work continues to evolve, it takes on even more of an earthiness while exploring themes of transcendence through suffering. It is moving toward being focused on the concept of arriving at Paradise as a result of having walked through Hell. LOCATION Boston UNITED STATES CAMERA/S Zone VI 8x10 Field Camera CATEGORY fine art photography WEBSITE http://www.tarasellios.com/ @TARASELLIOS @TARA.SELLIOS ​ FEATURES // Primal Instinct

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SPOTLIGHT TARA SELLIOS Boston, UNITED STATES see portfolio 2024 PHOTOGRAPHERS // AMY HOROWITZ New York UNITED STATES ANA-MARIA ALB Bukovina ROMANIA CATIA MONTAGNA SCOTLAND/ITALY DEDIPYA BASAK Kolkata INDIA FRANCE LECLERC Chicago UNITED STATES MARIETTE PATHY ALLEN New York UNITED STATES NAZANIN DAVARI Tehran IRAN PEDRO VIDAL Barcelona SPAIN SASHA IVANOV St. Petersburg RUSSIA TARA SELLIOS Boston UNITED STATES VALERIA CUNHA London UNITED KINGDOM

INTERVIEW April 19, 2024 PRIMAL INSTINCT ​ Photography by Tara Sellios Interview by Melanie Meggs Tara Sellios is a multidisciplinary artist who explores themes of mortality, fragility, and impermanence in her artistry. She primarily works with large format photography, but also incorporates drawing, sculpture, and installation into her practice. Since completing her BFA in photography and art history in 2010, she has showcased her works both locally and nationally. Currently, Tara is preparing for several shows throughout Italy and she is preparing for a solo exhibition at the Fitchburg Art Museum in Fitchburg, MA, USA. Alongside her exhibitions, Tara actively participates in artist lectures and will be facilitating workshops this year, showcasing her deep understanding and passion for her craft. Using an 8x10 view camera, Tara meticulously plans and executes her photographs, often incorporating organic materials such as animal skeletons and dried insects. These elements, along with religious symbolism, result in visually striking still-life images that are intended to be printed larger than life. Tara’s work explores the duality of life and death, and the instinctive, carnal nature that exists within all living creatures. She draws inspiration from the concept of morality and its relationship to mortality, as seen in the history of art from altarpieces to Dutch vanitas paintings. By creating images that are seductive and beautiful despite their seemingly grotesque and morbid subject matter, Tara challenges viewers to confront their own mortality and the fragility of life. Tara describes her work as a theater production or a book, with each series serving as an act or chapter. Her earlier work focused on themes of pleasure and indulgence, often using wine and blood as allegorical symbols. However, in her current work, she explores a new narrative world where the feast has dried up and pleasure has transformed into something more apocalyptic. Insects and reptiles play a significant role in her work, representing the primal instinct that exists within all living creatures. Through her work, Tara seeks to capture the restlessness and vulnerability of life, while also exploring themes of transcendence and the human experience. She remains true to her original vision, staying as close as possible to the natural elements used in her work. Tara’s thought-provoking and visually captivating pieces continue to push the boundaries of photography and art as a whole. Read on to learn more about Tara Sellios, her inspirations, and her creative process. “As long as I remember, art was always something that I was drawn to, even when I was young. Art had a mysterious, magical quality to it that fascinated me and even frightened me a little, as if it were a secret language or other world. My impulse to create art was always instinctive. It was something I had to do that ran very deep. I’ve always felt the need to get something out of me.” IN CONVERSATION WITH TARA SELLIOS THE PICTORIAL LIST: Hello Tara, thank you for sharing your inspiring photography with us. Welcome to The Pictorial List! Tell our readers about yourself. When did art enter your life? And talk to us about how you chose photography as the medium to play an important role in your art. TARA SELLIOS: Thank you for giving me the opportunity to share my work! It is an honor. I currently reside in my live/work studio in Boston, Massachusetts (USA). I grew up a bit north of here outside of the city in the suburbs. There actually is not a specific moment or romantic story of when art entered my life or when I decided to be an artist. As long as I remember, it was always something that I was drawn to, even when I was young. My main focus was drawing and painting before photography. I took some photography classes for fun when I was younger at weekend programs in local art schools where I learned to use the darkroom, but never thought it would be something that I was going to pursue as my primary medium. I went to art school to study fine art. When I got there, sitting in a room full of people and painting a pile of boxes in complementary colors did not appeal to me. I craved freedom and wanted my time to be spent focusing on conceptual content and not having rigid assignments and exercises. Photography intimidated me because I didn’t know much about it, but two weeks into school I switched into the program and it was certainly the right decision. I came to realize that I could essentially paint with the camera, which is still my mentality in my approach to photography. Working with the rendering of light to create images is something that drew me in. There is also something impactful in the “realness” of a photograph, at least in terms of my work (I know that the word “real” is often debated in regard to photography). Using actual skeletons and objects has a different weight to it than a painting of the object, as a relic has. I like that these otherworldly scenes that I create have actually existed. I enjoy drawing as well, but it is a different experience. I’m glad I work in multiple mediums, as it does feel really good to let loose and make a drawing. TPL: What are some of the challenges you have faced as a woman photographer? Were you able to overcome them? What did you learn from them? What advice can you share with other women photographers out there? TARA: I must say that I have been very fortunate to not have had many challenges in that regard as an artist. Any challenges were outside of that realm. I have been so fortunate to have been surrounded by so many strong, supportive women (some artists, some not) who feel more like family than friends. I am grateful for the women, my sisters, that have entered my circle. They come from different walks of life and different places, but we all have a common thread of creativity and a bit of wildness. My advice to woman photographers is to seek out and surround yourself with other strong women, and nurture those relationships. They are more valuable than anything. TPL: How do you believe art can convey the complex concept of mortality and morality? What drives you to create images that capture the essence of existence and the primal nature of life? How has the depiction of the end of the world and Hell in art and literature influenced your work? TARA: Throughout history, art has had a place in society of acting as a reminder, warning, or way to teach, especially within the realm of sacred spaces. Art’s role was one of storytelling, reverence and meditation. The concept of morality and mortality is present in that there are many works of art that act as a reminder that earthly pleasures and carnal self indulgence can lead to downfall and distraction from spiritual things. Life is fleeting and temporary. I had a very strict Christian upbringing that was present my whole life. Since a very young age, the concept of sin and the judgment and punishment for that in Hell were ever present. It was pretty traumatic in the way in which it was delivered. That being said, constantly hearing stories from the Bible my whole life has certainly impacted my work. As a text, it is an extremely vivid book, filled with intense, often surreal imagery, metaphor and symbolism. The concept of sin and punishment that was so prominent in my upbringing is one that I constantly visit in my work, as if I am debating it and rationalizing it. Why must we face such harsh consequences for acting on sensory impulses, both big and small? It’s pretty amazing the quantity of images there are throughout history of depictions of Hell, and not just in Christianity. There’s a deep, dark scary place filled with monsters, tortures and demons in many cultures. What draws me to the paintings is despite their darkness, there is something really curious and surreal about them, and often there is an uncanny sense of humor that appears. I love their rich, hot color palettes and the festering chaos they possess. I spent 15 years working in nightclubs to support myself financially, a job I finally took the plunge of leaving, and a lot of these paintings of Hell often reminded me of some twisted nightclub. All of these elements have become woven into my work. My approach to creating images that capture primal instinct, carnality and existence is more visceral and earth centered. The natural world is very cyclical in nature, constantly following a life/death/life cycle. All things are a part of this and exist in this inevitable flow. We have to live in this spiral with our human, earthly consciousness, which can be difficult to fathom. However, the impermanence of it all can make beauty and wonder even more powerful. "Subtero" "Triticum, No.1" Detail of "Triticum, No.1" "The Seven Woes, No.1" "The Seven Woes, No. 2" "The Seven Woes, No. 4" "Afflictio" "Amans, No. 1" "Amans, No. 2" "Amans, No. 3" Sketch of "Ascendo" "Ascendo" Sketch of "Aubundantia" "Abundantia" "Impulses, No. 1" "Implicitum" "Impulses, No. 3" "Infestatio" "Luxuria, No. 5" TPL: How do you balance the seemingly contradictory themes of beauty and grotesque in your images? You use dried specimens and skeletons as symbols of primal instinct - can you elaborate on this choice and its significance? TARA: I don’t think of the concept of beauty and the concept of the grotesque as separate. There can be vast beauty in the grotesque, which makes it alluring and unsettling. I try to portray the gestures and marks in my photographs with elegance, despite apparent harshness. Texture, light and color, anything that appeals to the senses, can instigate the notion of beauty, but there can be beauty in the drama and emotion of an image. The skeletons and dried specimens entered the story as a response to my older work and as a continuation into the next chapter of the story. I had reached a point of completion with the materials I used to work with, such as fleshy specimens and wine, and was tired of being chained to using the tabletop. The feast is over, the wine has dried up and the flesh has withered away to the bone, but the chapter transforms into a new narrative world where the earth begins to take over in a sort of apocalyptic way. I wanted more freedom and a feeling of weightlessness in my images, for the still life to become more animated. The insects and other organic materials begin to take over. I often think about conveying that fear that one can feel in the woods by yourself as darkness starts to set in, that sort of shadowy feeling of being in a powerful, wild place teaming with creatures and a force way beyond oneself. TPL: Can you speak more about the process of creating your images, from research to the final photograph? Please share your mental state when you embark on a new project. What are the guidelines you give yourself, and how much planning do you typically do? How do you determine when to start and stop? TARA: My work is extremely process oriented, with many layers and steps that all play off of each other. The initial stage is research based, which involves reading and looking at whatever art historical figures are speaking to me at the moment, music, movies, and just living. All of it feeds the work, which I think is true for a lot of artists - whatever is part of our “diet” shows up in some way, whether subtle or not. My state of mind when I am beginning a new piece or entering an intense period of creation is an overbearing feeling that something needs to get out. I can become pretty obsessed, and it overtakes me. It is almost as if my work has a life of its own. It tells me when it’s done. Once ideas start coming through, I jot down concepts, words and images that come to mind, some of which are often very vague. They can be colors, feelings or actions that I want the imagery to manifest. As more solid concepts begin to arise, I make a shot list of sorts. I then make preliminary watercolor sketches to establish the concept visually and do most of my problem solving there. From the sketch, I can figure out colors and materials needed to build the photographic arrangement, which is a sculptural endeavor. Using an 8x10 view camera and natural light, the scene is photographed with color film and then scanned. The only photoshop work that I do is typical adjustments and removing the wire, glue and other base structures that hold everything together. TPL: How do you hope your images will make viewers contemplate their own mortality and the concept of transcendence through suffering? TARA: As an artist, I tend to let go of a work when it is completed, meaning when it is done, it is out in the world and takes on a life of its own. It is out of my control at that point. Viewers will have their own interpretation and meditations on it depending on their experience in life, which sometimes means that what they find in a piece has nothing to do with my intention. I hope that my work makes people think and dig deep into thoughts and feelings that they haven’t felt before or often. I also want people to feel a sense of wonder and curiosity when looking at the work, in the way that beauty is often more powerful in its ephemerality. Beauty is something you can’t hold onto, and it exists simultaneously in a world that has a lot of darkness and pain. My work has a lot of darkness and lightness, as the two coexist together in a dance. The psyche possesses both and one does not exist without the other. I hope viewers feel that presence in my work and that it activates emotions or thoughts that are specific to themselves. Beauty is something you can’t hold onto, and it exists simultaneously in a world that has a lot of darkness and pain. TPL: Can you explain your process of using natural light instead of studio lights, and using an 8x10 view camera in your photography? TARA: Nothing renders light and color like 8x10 film. It has a radiant, painterly quality to it. Ideally, the photographs are intended to be presented at a grandiose size, in the vein of painting, so the 8x10 negative is the best option to enlarge the image and maintain hyper detail. The detail is crucial to my work, as I want the textures, tones and colors to appeal to the senses. Natural light is just so stunning and simple. It is a light that moves and comes from organic elements. The way that it renders an insect wing, for example, would not be achieved in the same way with artificial light. I enjoy looking at the paintings of Vermeer and his use of light in his work. I find it very photographic in nature, which most likely has to do with his use of the camera obscura. TPL: Who was your first inspiration, in this new way of engaging and defining the world around you? Is there a profound moment you shared that has stayed with you until today? Would you mind sharing that with us? TARA: Having grown up in such a restricted environment, my discovery of music changed everything for me, especially of the rock, punk, indie etc. persuasion. I was mostly surrounded by church music or “nice” music. Music really became my world and I went to see bands play every weekend. The intensity of emotion, sound and deep, often dark, feelings expressed felt so cathartic. I remember I was twelve years old the first time I heard Nine Inch Nails I thought, “what IS this?!” I had never heard anything like that before, and experiencing almost a shock like that is prominent in my mind. I didn’t know music could be that. It led me to bartending in nightclubs and music venues for fifteen years, and as I mentioned, it is a career I just left a few months ago to pursue my art. It was time to go for many reasons, but one thing that started to bother me was that I had musical burnout. I didn’t want to listen to anything on my own time, but thankfully, that has healed. It didn’t take long. It feels good to attend concerts now as a pedestrian. TPL: What other photographers or artists have influenced you, and how? What impact have they made in the way you approach and create your work in photography? TARA: There are so many artists. I love looking at art and am very happy sitting with a pile of art books, or being in a museum. Although I am a photographer, I actually don’t look at a lot of photography, even though I do appreciate many of them (Sally Mann, Emmet Gowin, Maria Magdalena Campos-Pons, Linda Connor, to name some). Some friends of mine have great photo book collections and it is always a treat to sift through them. To narrow it down, I’ve spent a lot of time the past few years researching Hell and apocalyptic imagery throughout history, ranging from the icons like Hieronymus Bosch and Brugel to medieval illuminated manuscripts. Rodin’s sculpture The Gates of Hell has always been a huge inspiration. It is so romantic, dramatic and powerful, as it has elements of the erotic and the macabre with all of those falling bodies clinging to each other. It is based on the layer of Hell in the Inferno for those who have sinned in carnal things. Presently, I have been focusing more on researching paradise, as I believe that is the next chapter for my work. All of these artists have impacted me and my approach to creating my work in that they possess such a heavy drama, emotion and uncanny magnificence that I hope to convey in my work. There is a continuous thread of this imagery over the span of so many years that possesses a collective visual language that I humbly hope to carry on in my own contemporary image making. Some modern and contemporary artists that inspire me are Louise Bourgeois, Berlinde de Bruyckere, Francis Bacon, Jan Fabre, Anselm Kiefer…I could keep going. Inside Tara's studio Tara's process "Luxuria, No. 8" "Messis, No.1" "Messis, No. 2" Sketch of "Pondus" "Pondus" "Processio" "Renovamen (Descendo)" "Renovamen (Obscura)" "Renovamen (Passio)" Detail of "Renovamen (Passio)" "Renovamen (Purgatio)" Detail of "Renovamen (Purgatio)" "Seven Snakes" "Oculus, No. 1" "Oculus, No. 2" "Oculus, No. 3" TPL: What advice would you give to a photographer starting a new project, what are the pros and cons and what are some of the lessons you have learned along the way? TARA: I think that starting a new project is exciting! I don’t really see beginning something new as having “pros and cons”, at least for me. The work begins to take shape and may change from your original intention, but that is usually for the best, as in a lot of life situations. I would say be open to the work revealing itself without clinging too tightly to your own rigid ideas. Don’t rush and don’t push the work in one direction if it is screaming to go in another. The important thing when starting something new is to show up, continue to work, and be okay with the unknown. TPL: What is on the horizon for Tara Sellios? Are there any new projects you would like to share with us? TARA: These days, I am always working on several projects at once. Most of them are open ended and I just keep adding to them. My main focus at the moment is a series called Ad Altiora Tendo, which means “I strive for higher things” in Latin. Having a lot of deep, rich greens and earth tones, I want it to feel like a lush, subtly psychedelic forest. It explores themes of transcendence and regeneration through suffering and sacrifice. Some of the inspiration is drawn from the martyrs, those who have voluntarily suffered for refusing to denounce their faith and beliefs and ultimately transcend to a higher, more spiritual place. There is some violence in the imagery, but it is portrayed with natural elements of beauty, like flowing red flowers in the place of blood. Ultimately, the work is becoming more celebratory, with more foliage and musical instruments, and probably other elements that will arrive in the future. I have spent much of my time focusing on the research of Hell within art history and have read Dante’s Divine Comedy three times. I’m at a point of moving forward with my work where I want to start focusing more on moving toward and ultimately to, paradise. I have a separate series revolving around in the back of my head in regard to that heavenly/paradise concept with a series that is mostly blue and white. TPL: When you are not creating your art through your photography, what else could we find Tara doing? TARA: Creating art for me also involves the drawing aspect, so I will often be making drawings when I am not working on a photograph or planning other projects while working on one. I feel like I’m always working in some way! When not creating art, I spend a lot of time in the woods hiking. As a city dweller, trips to nature are much needed. I feel a sense of peace and get a lot of ideas and thinking done out there. It grounds me. In the grand tapestry of contemporary art, Tara Sellios stands out as a weaver of the morose and the magnificent, challenging the viewer to peer through the lens of mortality and emerge with a sense of awe. Her multidisciplinary approach defies simple categorization, merging photography with sculpture and installation, to craft a body of work that is as contemplative as it is confrontational. Tara’s art, a visual feast that confronts the viewer with the stark reality of life’s fleeting nature, is profound in its execution and resonant in its message. Tara creates a dialogue with the past while deeply engaging with the present. The result is a series of works that are not only visually arresting but layered with meaning and rich in context. As viewers, we are invited to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. With her upcoming exhibitions and workshops, Tara continues to expand her narrative and share her profound reflections with the world. Whether standing amidst her large-scale photographs or participating in her educational endeavors, one is compelled to reconsider the essence of human experience through her eyes. As we anticipate her future works and exhibitions, we are reminded of the power of art to not only capture but also transcend the human condition. Tara Sellios’ oeuvre is a testament to the enduring quest for understanding and the unyielding pursuit of beauty in all its forms — even in the presence of the inevitable end. Her work, a poignant reminder of our own mortality, invites us to embrace the fragility of life and find solace in the art that imitates its impermanence. VIEW TARA'S PORTFOLIO Website >>> Instagram >>> Facebook >>> read more interviews >>> PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. UNDER THE COVERS WITH AMERICAN BEDROOM Barbara Peacock, opens the door to her subjects' bedroom, revealing their intimate thoughts and emotions. Discover the confidence and trust shared between the photographer and subject for an authentic and inspiring experience. BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. ETERNITY Eternity is a pictorial story about Konrad Hellfeuer's own personal journey with religion and how photography has helped him find peace within it. CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home.

THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. READ INTERVIEW explore all interviews INTERVIEW PRIMAL INSTINCT Tara Sellios invites us to explore the interplay of life and death, of decay and beauty, and to find within that juxtaposition a reflection of our own existential journey. INTERVIEW OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. INTERVIEW MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. INTERVIEW THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. INTERVIEW BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. INTERVIEW TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. INTERVIEW 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. INTERVIEW WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. INTERVIEW SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. INTERVIEW JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. INTERVIEW TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. INTERVIEW A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. INTERVIEW WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. INTERVIEW ETERNITY Eternity is a pictorial story about Konrad Hellfeuer's own personal journey with religion and how photography has helped him find peace within it. INTERVIEW UNDER THE COVERS WITH AMERICAN BEDROOM Barbara Peacock, opens the door to her subjects' bedroom, revealing their intimate thoughts and emotions. Discover the confidence and trust shared between the photographer and subject for an authentic and inspiring experience. INTERVIEW BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. INTERVIEW HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. INTERVIEW FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. INTERVIEW HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. INTERVIEW CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. INTERVIEW DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating. INTERVIEW NEW REALITIES IN VISUAL POETRY Enter Monika Jurga's surreal world, and find out how and ultimately why she creates these fantastical photographic images where her imagination will become your reality. INTERVIEW THE RHYTHM OF MY PHOTOGRAPHY Mena Sambiasi is not afraid to try new things, living in the moment, finding a personal connection between her visual translation of the musicians rhythm, as if they were playing just for her. INTERVIEW CALL AND RESPONSE Three women have found a symbiotic relationship, creating pictorial conversations through the device of triptychs. INTERVIEW PHOTOGRAPHY AND REALITY In her project BODY NO BODY, Ypatia Kornarou draws its inspiration from the daily life of modern lifestyle in western culture, where the approach mainly focuses on satisfying the social expectations and meeting material needs. be on The List We are always on the search for unique visual storytellers of all genres. Would you like to join our portfolio of photographers and be represented on our website, and social media platforms. submit © Chetan Verma

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Anchor A AARON RUBINO ABBIE BRIGGS ABHAY PATEL ABHISHEK SINGH ADAM SINCLAIR ADESH GAUR ADRIAN PELEGRIN ADRIAN TAN ADRIAN WHEAR AGATA LO MONACO AHMET HOJAMYRADOV AJ BERNSTEIN ALAN THEXTON ALESSANDRO GIUGNI ALEX FRAYNE ALEX GOTTFRIED BONDER ALEX RUTHERFORD ALEXANDRA AVLONITIS ALEXEY STRECHEN ALICIA HABER AMY HOROWITZ AMY NEWTON McCONNEL ANA-MARIA ALB ANASTASIYA PENTYUKHINA ANDRE LOBAO B Anchor B B JANE LEVINE BARBARA PEACOCK BARRY BOTTOMLEY BASTIAN PETER BELINDA CORNEY BEN ALLAN BENNY VAN DEN BULKE BETTY MANOUSOS BILL LACEY BOGDAN OITA BRANDEN MAY BRIAN DOUGLAS C Anchor C CAHLEEN HUDSON CALLIE EH CAMILLE WHEELER CARL LINDHE CARLA HENOUD CAROL DRONSFIELD CASPER DAM CATHERINE NAYLOR LEYLAND CATIA MONTAGNA CHEN XIANGYI CHETAN VERMA CHICHEK BAYRAMLY CHRIS SUSPECT CHRISTINA SIMONS CINDY WANG CLAUDIA ORSETTI D Anchor D DAMIEN GORET DANIEL GOLDENBERG DANIELA PEREIRA DANIELLE L GOLDSTEIN DANNY JACKSON DARREN SACKS DAVID GILBERT WRIGHT DAVID KUGELMAS DAVID LAWLESS DAVID QUEVILLART DAVID SHORTLAND DEAN GOLDBERG DEDIPYA BASAK DOUG WINTER DREW KELLEY E Anchor E EDUARDO ORTIZ ELIZABETH PAOLETTI ELLE CLARKE EMIR SEVIM EMY MAIKE ENZO CRISPINO ERIC RENARD F Anchor F FABIO BARZAGHI FABIO CATANZARO FAHIM FANNY GENOUX FEDERICO QUINTANA FELICIA OLIVARES FIDAN NAZIMQIZI FRANCE LECLERC FRANCESCA TIBONI FRANCESCO MERCADANTE FRANCOISE LERUSSE FRANK MATAGRANO G Anchor G GABI BEN AVRAHAM GABRIEL SOLLBERGER GABRIELE GENTILE GABRIELE MIELES GUZMAN GARETH WATKINS GEORG REITER GIANLUCA MORTAROTTI GILES ISBELL GINO RICARDO GIORGIO GERARDI GREGORIO PAONE GRZEGORZ ZUBOWSKI H Anchor H HAKIM BOULOUIZ HERSLEY-VEN CASERO HUGH RAWSON I Anchor I IBI GOWON IDA DI PASQUALE INGRID CLAUWAERT IVAN DOMARATSKIY IXI NIJHAWAN J Anchor J JAKE DYLAN JAMES AYRES JAN ENKELMANN JAN GESSLER JAN PONNET JANO SANDOVAL JASON PHANG JASON SHIPLEY JASPER TEJANO JAYESH KUMAR SHARMA JEAN ROSS JEFF ROTHSTEIN JELISA PETERSON JENNIE BLYTHE JENS F. KRUSE JIMMY MCBROOM JO KALINOWSKI JOCELYN CALAC JOHN GELLINGS JOHN LILLIE JOHN MACKENZIE JOHN ST. JONAS WELTEN JOSE MANUEL CASTAÑEDA CASTILLO JOSE MARCO LULL K Anchor K KAREN GHOSTLAW KAREN MIKI ROHEE KARIN SVADLENAK KENNETH NEDERSKOV PETERSEN KEVIN ICABALES KEVIN TO KONRAD HELLFEUER L Anchor L LAINE MULLALLY LANA EILEEN LASSE PERSSON LAURA BINAGHI LEANNE STAPLES LEIGH ANN EDMONDS LELE BISSOLI LEONARDO CASSI LEROY FONG LI MULLEN LORENZO VITALI LUCA STRIPPOLI LUCAS JOHN M Anchor M MAARTEN ROTS MAARTEN VROMANS MAGDÉLEINE FERRU MARA MARC PENNARTZ MARCI LINDSAY MARCO RICCARDO FLORES MARIA RICOSSA MARIETTE PATHY ALLEN MARILENA FILAITI MARIËTTE AERNOUDTS MARK DAVIDSON MARK ZILBERMAN MARTIN AGIUS MARY CRNKOVIC PILAS MATTIA BULLO MAURIZIO PICHI MAXIMILIAN HAIDACHER MELANIE MEGGS MELITA VANGELATOU MENA SAMBIASI MERYL MEISLER MG VANDER ELST MICHAEL CAPULONG MICHAEL DUCKWORTH N Anchor N NAHID SULTANA NAIMA HALL NASTPLAS NAZANIN DAVARI NEGO JÚNIOR NEIL JOHANSSON NEIL KRAMER NESLIHAN USLU NEVILLE NEWMAN NICOLE TSATSOU NOISY KID NSIRIES O Anchor O OLEG KOLIMBET OLIVIER FARDEL ORNELLA LATROFA OVIDIU SELARU P Anchor P PAN PAOLA FERRAROTTI PAOLO RICCA PAUL KESSEL PAVIEŁ HANČAR PEDRO VIDAL PEPIJN THIJSSE PETER BARTLETT PETER CHELSOM PHILIP BUTLER POOJA YADAV PRADIP MAZUMDER PRITHI DEY Q Anchor Q R Anchor R RADOVAN BARAN RAJ LAXMI SINGH RICHARD KOENIG RITIK AGRAWAL ROBERT BONK ROBERT SHERMAN ROSAMARIA FILOGRASSO ROSS TAYLOR ROUVEN KURZ RPNUNYEZ RUBER OSORIA RUSSELL COBB RYAN DODD S Anchor S SAMANTHA BROWN SAMUEL IOANNIDIS SANDEEP KUMAR SANDRA FINE SARAH LUHSE SASHA IVANOV SEIGAR SHARON EILON SHAWN BYRON DANKER SHIRA GOLD SIMO VÄISÄNEN SIMONE BATINI SOFIA DALAMAGKA SOFIA SITNIKIENE SONIA GOYDENKO SOPHIE LINCKERSDORFF STEFAN HELLWEGER STEPHEN ALLSOPP STEPHEN LASZLO STEPHEN SIMMONDS STEVE BEST STREETMAX 21 SUSAN BOWEN SUZANNE PHOENIX SVEN SVENSØN T Anchor T TARA SELLIOS THE BLUE HOUR PHOTO COLLABORATIVE THOMAS HACKENBERG TIM HUYNH TOMAS CIHAK TOMMASO CARRARA TONY REDDROP TONY REMARTINEZ TRIS U Anchor U ULKA CHAUHAN UMA MUTHURAAMAN V Anchor V VAJRADHAR ACHARYA VALERIA CUNHA VANESSA CASS VANESSA WALL VICKI WINDMAN VICKY MARKOLEFA VICTORIA GONZALEZ GARCIA VIN SHARMA VINH TRAN VOICES OF THE NILE W Anchor W WOJCIECH KARLINSKI X Anchor X Y Anchor Y YOEL GRACIA YPATIA KORNAROU YVES VAN TENTE Z Anchor Z ZEESHAN KHAN

INTERVIEW April 18, 2024 OPPORTUNITIES ​ Interview by Karen Ghostlaw Pomarico The Pictorial List is excited to announce a new partnership with the International Photography Awards, merging our resources and expertise to provide an even more comprehensive platform for our communities. By joining forces, we aim to empower photographers with a wealth of options, information, and tools, enabling them to forge meaningful connections within the industry. This collaboration seeks to enhance the exploration and advancement of photography, ultimately amplifying the impact and contributions of photographers around the world. Together, we look forward to cultivating an environment that fosters creativity, skill development, and networking opportunities for photographers at every stage of their careers. We would like to share with you the founder of IPA, Hossein Farmani, and his remarkable contribution to photography. Hossein Farmani is an incredibly dynamic figure in the world of art and photography. As a creative director, gallerist, and exhibition curator, he has left an indelible mark on the industry. His influence extends beyond New York, where he founded and presides over the prestigious Lucie Awards, International Photography Awards, International Design Awards, Paris Photo Prize, London Creative Awards, Focus on AIDS, and Farmani Gallery. Hossein's dedication to photography has driven him to every corner of the globe, where he has curated more than 200 photographic exhibitions. For the past two decades, he has been sharing his wealth of knowledge and passion by lecturing at various universities and colleges. His expertise has also earned him a place among the esteemed juries of events such as Photo Lucida, Photofest, Arles Photo Festival, Yangong Photo Festival, and numerous others. Most notably, he has co-founded the Palm Springs Photo Festival, Snap Orlando, Month of Photography Los Angeles, and the Istanbul Photo Festival. Alongside these achievements, he has enlightened audiences at prestigious platforms like TEDx Chiang Mai and TEDx Bologna, where he shared his profound passion for both photography and design. Hossein's impact is not confined to the art world. His commitment to social and environmental causes has seen him lecture in over 25 cities globally, using the power of photography and design to shed light on critical issues. His personal collection of contemporary and vintage photography stands as a testament to his deep connection with the art form, making him a guiding light in the photography world. Initially, the International Photography Awards (IPA) embarked on its journey in a world before the widespread use of the internet or email. The organization relied heavily on traditional advertising methods, predominantly featuring in magazines. Entrants would send in their submissions via mail, accompanied by checks or cash, adding a touch of old-world charm to the process. Despite initial skepticism about the IPA's potential success in a crowded landscape of competitions, a combination of effective marketing tactics and genuine enthusiasm from participants proved to be a winning formula. A notable partnership with an Indian magazine, which showcased the awards in a significant article, sparked widespread interest and resulted in hundreds of submissions from India alone. The IPA was pleasantly surprised by the caliber of entries, with many arriving in impressive packages, even though some suffered damage during transit. The event exceeded expectations and proved to be a resounding success, drawing an impressive turnout in both participation and the quality of submissions. Upon receiving thousands of envelopes filled with photographs, the IPA meticulously curated them within the ambiance of a gallery space. A jury of experts was tasked with reviewing and rating each photograph, a task that demanded significant time and attention owing to the sheer volume of submissions. To the surprise of the organizers, the IPA swiftly ascended to prominence, particularly following a glamorous award ceremony held in the illustrious company of the Lucie Awards in Beverly Hills. This event captured the collective imagination of the photography community, propelling the IPA into the spotlight with newfound fervor. Embracing the digital age, the organization adeptly utilized its website as a dynamic platform to amplify the reach and impact of the awards, fostering greater engagement and recognition within the global photography sphere. A heartening element of the process was the genuine enthusiasm displayed by the postman responsible for delivering all the entries to the IPA, a dedicated photography enthusiast in his own right. His support, alongside that of other individuals, played a pivotal role in the resounding success of the event. In contrast to other competitions that predominantly relied on peer judging, the IPA prided itself on its distinguished international panel of experts, which conferred a heightened level of credibility and prestige within the global photography realm. This recognition proved instrumental in solidifying the IPA's position as a foremost platform for celebrating photographic excellence on an international scale. The Pictorial List would like to extend a warm welcome to Hossein Farmani the founder of International Photography Awards, along with the rest of the IPA family and community of photographers. We are excited about partnering and creating the opportunity to share our diverse communities of artists globally. IPA has a twenty year history of honoring photographers while supporting and promoting their photography. IPA rewards photographers in both professional and non-professional categories, outreaching to a broader and diversified representation of photography globally. The Pictorial List team are facilitators for our artists, helping some develop a dialogue and language to speak about their work while highlighting projects and stories that have fully developed narratives. ‘TPL’ supports all the artists in our community, autodidact, non-professional, or professional, looking carefully at their photographs, reading their narratives, and supporting their critical thinking and visual storyline. We extend an open hand and look forward to developing a supporting relationship, broadening our reach while expanding our communities of brilliant photographers. “For over a decade, I worked on an award in Hollywood with movie stars. I applied the same experience to a passion of mine: photography. I decided that we should appreciate all these masters of photography whose images have changed our lives while they are still alive and let the world know the people behind many life-changing images. The Lucie Award was established in 2003. The IPA was created to nurture young photographers to be the next masters.” IN CONVERSATION WITH IPA FOUNDER, HOSSEIN FARMANI THE PICTORIAL LIST: Congratulations on IPA’s 20-year anniversary. That is a tremendous achievement with the dynamics of a forever-changing community. Tell our community about the International Photography Awards. What is IPA’s mission in photography? How does IPA support the field of photography, and what opportunities do they provide to photographers globally? HOSSEIN: After over 20 years and with over a hundred thousand participants, the IPA has become one of the most important awards in photography on a global level. Winning one of the IPA prizes can significantly change a photographer's career in a much more respected manner. Not only does the cash prize amount to nearly $50k but the publicity and promotion have also placed many local winners on a global stage, granting them access to international art buyers and photo editors. Some have even been able to relocate to Europe and the USA through the extraordinary talent visa, thereby transforming their lives and the lives of their families. TPL: Who are the faces behind the International Photography Awards? What are their supporting roles? Tell us about the IPA family. HOSSEIN: IPA is a community of passionate, young individuals who love photography from all over the world, with headquarters in Budapest, Los Angeles, and Athens. Susan Baraz has been leading the jury panel for over 20 years, alongside Hannah, who has been with IPA for over 10 years as Program Director for the IPA and has been managing all aspects of this global photography award for the past decade, from call for entries to the winner announcements and awards ceremonies and photo festivals; Veronika, who has been strategically managing all elements of promotion as Head of Marketing; Aline, who is the wonderful head of Customer Service… the list goes on, and every year, our team grows with new additions! TPL: Tell us about the Lucie Foundation, and the supporting role they make to IPA. How can our community reach out to learn more about the foundation, and how they may make a contribution? HOSSEIN: In addition to organizing the Lucie Awards in NYC, the Lucie Foundation's significant efforts include educating inner-city and underprivileged youth in the art of photography, not only as a hobby but also as a career path as professional photographers. They facilitate "Months of Photography," host photo fairs for photographers to showcase and sell their work to the public, conduct scholarship-specific photo competitions to promote book publishing and exposure for young photographers, and hold fundraisers for various projects. Additionally, they organize photo festivals in Palm Springs, Myanmar, and Cambodia. Members of your community can replicate the efforts of the Lucie Foundation and leverage its 20+ years of experience by creating art fairs for amateur and working photographers, organizing festivals and group shows, and providing education and mentorship to young photographers who can benefit from your experience in improving their skills. TPL: There is a wide range of categories in both the professional and non-professional fields of photography, a diverse selection, and a cross-section of work in visual storytelling. How as an artist does one navigate the choices, to best support their work? How many categories do you recommend choosing for each photograph? HOSSEIN: Both IPA and Lucie celebrate all disciplines of photography. We believe all photographers deserve recognition no matter what their category and level of their expertise are. I encourage photographers to study the past winners of each category and see where their own image fits best. By searching for past winners gives the photographers a good idea of the rates of the jury and how they vote. It’s not necessary to enter many categories, it’s important to understand the relevant category and enter your strong image in a category that best matches the picture. TPL: How important is the narrative they provide about their submission? What do you consider a good artist statement? HOSSEIN: Most important is of course the image and the story it portrays without reading the description or title. I believe the title of the image is the second most important and should be chosen with care. The description of the images sets the stage and possibly helps the viewer and our jury understand more about the image and the consequences of capturing that image. But if the image is not strong enough, no amount of explanation will help it. In fine art photography, I am always asking photographers to write their statements before they pick up their camera. Artist statements are important in a way that helps photographers as artists to focus on their narrative and stay true to their statement. ​ ​ IPA is a community of passionate, young individuals who love photography from all over the world, with headquarters in Budapest, Los Angeles, and Athens. TPL: With the diversity in the range of categories, how do you select your panel of jurors? What is that process of deliberation like? Is it as difficult for the jurors as it is for the artists to make their selection? HOSSEIN: We match the jurors' experience and expertise with the categories they will jury. This way the photographers get maximum exposure to their submitted images. With the quality of images excelling in the past few years tenfold, the task of the jury has become just as much harder. Each year the level of excellence in photography has been raised and has become harder to choose one overall winner. It’s a good challenge to have, and we try to be as fair as possible. The jury votes and comments on photographs as they see fit. We tally the votes and the highest-scoring photographs receive top awards. TPL: What advice would you give to photographers as they prepare their submissions? Is there one thing you find that photographers miss most often, a common mistake? What should photographers avoid, and what should they embrace? HOSSEIN: Most important is to develop your own style. You will develop a keen eye by looking at hundreds of thousands of images and by studying the Masters of Photography and understanding why a photographer has won so many prestigious praises. A significant mistake photographers often make is either undervaluing the importance of community and industry standards by knowingly copying others or by being unaware of existing works. Drawing inspiration from Rome and images while crediting the original creator is a commendable practice, whereas outright copying is deemed uncool and disrespectful. The most successful photographers have created a style that they become known for. This takes expertise and years of practice. TPL: Share a few success stories with us, memorable and defining moments. Could you also open our eyes to some obstacles or challenges you experienced along the way? HOSSEIN: I think personally I have had many obstacles that I had to overcome moving to the USA at such a young age without family. Achieving these difficulties made me appreciate all the things life has provided me. On the IPA level, when we started the IPA and Lucies, mostly I heard “no” from people around me. Most people thought there were already a few hundred photo contests around the world. Why start a new one? But my vision was much grander than what I saw at local or even national-level photo contests. I wanted to unite the world of photography and bring much-deserved respect and recognition to the world of photography. Once our industry understood my vision and how to go about it all naysayers became the flag carrier for our projects. I have achieved that but lecturing and nonstop talking about my passion for photography. TPL: Not everything goes as planned all the time, share some surprises, and serendipitous moments that may have opened unexpected doors. HOSSEIN: In my own life nothing I have done was with grand plans. I have always been a doer sometimes to my detriment. If it feels right, I do it. My decisions are mostly by heart, not head, and not always successful. I would say my biggest success has been my ability to transfer my passions to others and convince many to join my path because I speak from the heart without charts and numbers, and I am willing to take great risks. My career has been full of surprises and memorable moments. But most joyful is when I receive a heartfelt thank you from people that our efforts have been changing their lives. Recently a letter from a young photographer credited us for the prize his father won 18 years ago and because of the prize the family was able to migrate to the USA and create a family and their dream life. Or people who have met and married at our festivals and events. TPL: After the selection of the awards, do you continue to follow your artists, and watch them grow? Nurture their growth? Do your artists remain part of your community, on your radar, being observed with a respectful and careful eye? HOSSEIN: It mostly depends on the artist. I have become close friends with many of the winners as we have traveled together while promoting their winning work in many cities. I do follow many of our main winners' careers and I am always available for advice and promotion of their works. I try to follow as many winners as I can on social media and promote or comment on their work. TPL: What are some of your future goals? Are there any new directions you are exploring that you would like to share? How can we all help contribute to their success? HOSSEIN: I would like to extend the reach of our efforts to other parts of the world, especially in Africa where we have done very little work. My future goal is to build more community centers around the world. Encourage the world to collect and support photography. A challenge I accepted in 1980 by promoting appreciation of photography with classes and lectures on collecting photography still alive and well 44 years later. None of what I have done in my career has been done alone. It’s always been with the help of tireless people that gave me the love and energy I would need to take on these major challenges. I would always count on people who share the same passion to help me achieve my future goals. I count on everyone to help me promote photography in their community no matter how big or small and in exchange I will be always available to lend them my hands and my organization's support. This brilliant new collaboration between The Pictorial List and the International Photography Awards marks a momentous stride in the world of photography. This partnership holds the promise of creating valuable connections between artists and industry. We hope to inspire and nurture critical and creative thinking while fostering the advancement of skill sets giving photographers new ways of engaging their practices in photography. This new expansive platform of support will undoubtedly contribute a positive impact and influence photographers across the globe. VISIT IPA'S WEBSITE Instagram >>> Website >>> Photo Credits: Robert Leslie and Forecast read more interviews >>> OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. UNDER THE COVERS WITH AMERICAN BEDROOM Barbara Peacock, opens the door to her subjects' bedroom, revealing their intimate thoughts and emotions. Discover the confidence and trust shared between the photographer and subject for an authentic and inspiring experience. BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. ETERNITY Eternity is a pictorial story about Konrad Hellfeuer's own personal journey with religion and how photography has helped him find peace within it. CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating.

INTERVIEW June 10, 2020 AUTHENTIC MOMENTS ​ Photography by Vicki Windman Interview by Melanie Meggs Originally hailing from New York, Vicki Windman is a now Boston-based photographer with an eye for the artistry of everyday life. Working mainly on the streets of her hometown, Vicki is passionate about capturing the beauty of small, seemingly mundane moments that often go unnoticed. She has a gift for finding unexpected beauty in her immediate world, inviting her audience to explore the often overlooked aspects of the city and its inhabitants. Through her lens, we come to appreciate the richness of a single moment, the texture of city life, and the grace found in its everyday miracles. “My dad was an amateur photographer, he had a great eye for irony. After an injury I had to come up with a way to find happiness, I had a mirrorless camera and decided to take a class...that was it I was hooked.” IN CONVERSATION WITH VICKI WINDMAN THE PICTORIAL LIST: Vicki, where do you find your inspiration to photograph? VICKI WINDMAN: I find my inspiration on the streets. I fell in love with Coney Island because of its authenticity. I felt like time stood still and memories flooded back to simpler times. I also love people. I love engaging with the people I meet. Sometimes I just snap...other times I banter. TPL: Has your style of photographing changed since you first started? VW: I think there is continuity in my style. I am willing to take more chances now and try different techniques. I have also slowed down looking more for the decisive moment. TPL: Do you have a quote or saying that fires you up? VW: "Sometimes life hits you in the head with a brick. Don't lose faith." - Steve Jobs TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? VW: Hands down Vivian Maier is my favorite photographer. I also love Diane Arbus, Helen Levitt, Elliott Erwitt and Martin Parr. I think Vivian Maier influenced me the most because of who she was and how she looked at people, especially children. TPL: Where is your favourite place to photograph? VW: Coney Island, Williamsburg and now that I have moved to Boston I think it will be Revere Beach. ​ ​ I grew up with a very talented mother who is a designer. I believe her eye and my dad's humor groomed me for the art world. TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? VW: I believe to become a good photographer you need to take pictures everyday. Take chances...life is short...so go with your gut. I am a street photographer. The best tip I can give is practice asking people - you have to smile- though right now is more difficult because of COVID. TPL: Have you ever been involved in the arts before photography? VW: Photography has been my first experience in the art world. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? VW: I have bought and sold so many cameras until I found two that work for me. So yes the equipment has helped me with my vision. If I had the opportunity to talk to someone first starting out I would suggest a camera without so many bells and whistles. I started with my iPhone. I also think if you want to learn take a class just in learning how to use your camera. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? VW: Right now I am documenting COVID - I hope I can photograph it in a different slant than others. TPL: “If I wasn't photographing what would I be doing?... VW: This is a great question! I honestly don’t know what I would be doing as I am limited physically. My other passion is technology so I probably would be engaging more in the world of apps.” ​ ​ Vicki Windman is an extraordinary photographer with a knack for seeing the beauty in the small moments of everyday life. Through her lens, we are able to better appreciate the city that she now calls home and the individuals that inhabit it. She has a talent for uncovering the beautiful and often overlooked aspects of urban living, showing us that even the most everyday moments can be extraordinary. To truly appreciate Vicki's work, we invite you to connect with her and be inspired by her photographic journey. VIEW VICKI'S PORTFOLIO Vicki's instagram >>> read more interviews >>> OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. UNDER THE COVERS WITH AMERICAN BEDROOM Barbara Peacock, opens the door to her subjects' bedroom, revealing their intimate thoughts and emotions. Discover the confidence and trust shared between the photographer and subject for an authentic and inspiring experience. BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. ETERNITY Eternity is a pictorial story about Konrad Hellfeuer's own personal journey with religion and how photography has helped him find peace within it. CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating.

INTERVIEW April 9, 2021 REAL MOMENTS ​ Photography by Drew A. Kelley Interview by Karin Svadlenak Gomez Drew A. Kelley is a remarkable photojournalist, capturing the vivid and diverse moments of Southern California in black and white film with a passion for storytelling. This talented creative continually seeks out new experiences, finding inspiration through art galleries, used book stores, music, and newspaper reports. Driven by a love of art and photojournalism alike, Drew’s work is an intricate blend of both. He captures life’s moments with an eye for detail that brings both beauty and emotion to his photographs. Whether he’s working on a tight deadline or using his own time to craft another passion project, Drew’s commitment to his art shines through each beautiful capture. “My goal is to accurately document, without bias, the lives of people that lack a voice. Style wise, I am obsessed with moments and layers. I feel I’ve done something right if the viewers’ eyes are moving around the photograph and not moving to the next.” IN CONVERSATION WITH DREW A. KELLEY THE PICTORIAL LIST: Drew please tell us about yourself. How did you become interested in photography? DREW A KELLEY: I was born in Long Beach, California in the mid 1980’s but I grew up in Chino Hills, a suburb outside Los Angeles. Living in Southern California during the 1990’s, my love for photography grew concurrently with my passion for skateboarding. Anytime we went out, I brought my camera and tried to capture the perfect moment. Eventually I started documenting the culture behind skateboarding and that’s when my passion for photojournalism began. TPL: Where do you find inspiration to photograph? DAK: My quick answer is reading newspapers. Other than newspapers, I find inspiration by visiting art galleries, used book stores or searching for new music. It’s hard to explain the feeling of listening to a good song for the first time but that vibe inspires me to create something equally as great. Used books also provide me with that same level of inspiration. Flipping through pages of photographs by photojournalists before me is very grounding and encouraging at the same time. TPL: You are a photojournalist. What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it? DAK: When I document news events, the subjects are typically indifferent and my job is clear. Outside of news events, rapport is of the utmost importance. Repeatedly visiting people or places is essential to put your subjects at ease. My end goal is to earn the ability to be a fly on the wall. TPL: Do you have a favourite place to photograph? DAK: My favorite place to photograph is any place that hasn’t been overly documented. I am drawn to places and sub cultures that aren’t easily accessible. If I am not giving my audience the opportunity to see something they typically couldn’t then I’m not doing my job. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? DAK: I’ve learned not to previsualize too much. Early in my career I would think of the perfect image as I drove to my assignment. Rather than flowing with my subject and capturing natural moments, I would be chasing an idealized photo in my mind. ​ ​ Having a goal or the ability to previsualize is important but being able to react to what is in front of you is even more valuable. 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? DAK: I don’t think it matters what camera you use, your vision is your vision, unless the camera you are using is technically getting in the way. I strictly use Canon SLRs because I know the controls by heart. Currently, I can move fluidly as I work with my subjects but if I needed to relearn my equipment I wouldn’t be able to capture the same moments. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DAK: My love for photojournalism is equal to my love of art. Photojournalists like Matt Black, Sebastião Salgado and James Nachtwey have been a constant inspiration throughout my career but artists like Sofia Enriquez and Carlos Ramirez, from the California high desert, equally inspire me with their work. It has always been important to me to stay open and allow inspiration to come from anywhere and everywhere. TPL: What are some of your goals as a photographer? Where do you hope to see yourself in five years? DAK: My goal as a photojournalist is simply to shoot more. In five years I hope to see myself working more with film, either black and white or color. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? DAK: I am currently working on my second solo show featuring the project, Vecinos. The exhibit is in the beginning stages and will first be shown in Los Angeles, California. TPL: When I am not out photographing, I (like to)… DAK: I’m learning new cooking techniques and recipes or hiking with my dog Shiloh. ​ ​ Drew A. Kelley is an incredible photojournalist, showing off the diversity and beauty of Southern California through his stunning black and white film photography. His great eye for detail and passion for storytelling make his art truly unique. To view more of Drew's photography, be sure to follow him on Instagram! VIEW DREW'S PORTFOLIO Drew's instagram >>> read more interviews >>> OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. UNDER THE COVERS WITH AMERICAN BEDROOM Barbara Peacock, opens the door to her subjects' bedroom, revealing their intimate thoughts and emotions. Discover the confidence and trust shared between the photographer and subject for an authentic and inspiring experience. BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. ETERNITY Eternity is a pictorial story about Konrad Hellfeuer's own personal journey with religion and how photography has helped him find peace within it. CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating.

INTERVIEW April 15, 2020 CATCHING GLIMPSES OF LIFE ​ Photography by Alexey Strechen Interview by Melanie Meggs Gripped by a desire to capture moments in time, the Belarusian photographer Alexey Strechen has taken to the streets of Moscow with a camera in hand. Despite recently beginning his photography journey, Alexey already knows what he wants to achieve with his work: to catch a glimpse of the characters that make up the fabric of modern life. With a unique style that often creates a sense of intrigue, Alexey's photographs often leave viewers questioning the story within the frame. Follow his journey as we take a closer look at this emerging photographer and his creative approach to art. “I started taking photographs regularly quite recently, in March last year. My girlfriend made me have an Instagram account. At first, I did not know what I could upload to the network. I found photos from a trip to Italy and began to post. Then I picked up a camera and went outside to make some extra stuff. And here we go.” IN CONVERSATION WITH ALEXEY STRECHEN THE PICTORIAL LIST: Alexey, where do you find your inspiration? ALEXEY STRECHEN: Inspiration in street photography is quite simple. You just need to force yourself to go out and start taking pictures until the first one that interests you. The rest will flow like a river. TPL: You are new to photography, describe your style. AS: Over the year of experimenting with colors, lighting, and composition, my idea of photography has changed a lot. The first six months I took pictures on the Nikon D3200. The lens was catching everything that was around me. As a result, my photos were like a set of completely different pictures. Now I’m trying to find my own style. I guess I don’t like photographing just architecture, just people or just nature. I like to capture moments in the photo. The faces of the main characters in my photographs are usually hidden in whole or in part. The final photographs often turn out a little gloomy, but from this the moments become only brighter. ​ ​ TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AS: Alan Schaller is the first person whose Instagram account I show people when they ask me this question. I am motivated by his photos. I would like to be able to develop thoughts and plots in photographs the way he does. TPL: Where is your favourite place to shoot? AS: In street photography, you’re constantly looking for new places. I like what I'm doing now in Moscow. There are many places for experimentation. This allows your photos to reach a new level. ​ ​ The final photographs often turn out a little gloomy, but from this the moments become only brighter. TPL: Have you ever been involved in the artistic world before photography? AS: No I haven't. TPL: Do you think equipment is important in achieving your vision in your photography? AS: Canon EOS 80D is my main content creation tool. But equipment is always in second place. This is just a tool that helps you realize your ideas. The most popular photo at the moment in my account was taken on the iPhone XR. I was afraid to continue taking pictures on Canon in such rainy weather, but I took a couple more pictures on the phone until I caught a man running across the road with an umbrella. ​ ​ TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: Now I'm working on creation my first portrait series. Stay tuned! TPL: "If I wasn't photographing what would I be doing?... AS: I’m not a professional photographer. Photography is my hobby and only a part of my life." ​ ​ Experimenting with colours, lighting and composition, Alexey catches glimpses of life on the streets of Russia. Visit Alexey's Instagram to follow his journey. VIEW ALEXEY'S PORTFOLIO Instagram >>> read more interviews >>> OPPORTUNITIES The Pictorial List partners with International Photography Awards, enhancing resources for photographers worldwide. We interview IPA founder Hossein Farmani, a visionary in photography. MINIMALIST REVERIE Nazanin Davari's minimalist style invites you to an imaginative world where silence and freedom converge, painting unseen beauty with her lens. THE AUTHENTIC GAZE: THE DON'T SMILE PROJECT Delve into the visual anthology of urban youth, a collection of moments where the mundane transcends into the profound, sparked by the click of Amy Horowitz's camera. BLACK AND WHITE WITH A THREAD OF RED Valeria Cunha is fascinated by the street, using it as inspiration to find structure amidst the confusion. Her photography creates intriguing connections and relationships through dynamic compositions that convey emotion. TALES OF A CITY With a passion for exploring the world through his camera lens, Seigar brings a unique perspective to his art, infused with reflections, colors, and icons. 18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. WOMEN WARRIORS OF AZERBAIJAN Fidan Nazimqizi is aware of distinct challenges the women in her community are confronted with on a daily basis. Their struggles have become a focus for her photography. SHOOT NEW YORK CITY Leanne Staples is a passionate and driven street photographer whose honest perspective of city life captures both its simplicity and complexity. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void. JESSE'S STORY Jesse’s story becomes a timeless testament of an unconventional and successful fighter. Andrée Thorpe invites us to reflect on the inspiring journey of this brave individual. WALKING BUENOS AIRES We take a deep dive into the journey of Alex Gottfried Bonder - an artist who has spent many years uncovering the soul of Buenos Aires through street photography. UNDER THE COVERS WITH AMERICAN BEDROOM Barbara Peacock, opens the door to her subjects' bedroom, revealing their intimate thoughts and emotions. Discover the confidence and trust shared between the photographer and subject for an authentic and inspiring experience. BEYOND SIGHT Doug Winter is a photographic artist using his unique perspective as a semi-sighted individual to explore the experiences of partial blindness and vision disabilities. ETERNITY Eternity is a pictorial story about Konrad Hellfeuer's own personal journey with religion and how photography has helped him find peace within it. CROSSING THE AVENUE Get ready to be transported by the street photography of Juan Sostre. His mastery of technique and ability to observe the world around him, allows us to experience the street in a whole different light. HUMAN CONTACT By walking through the streets and observing people's behaviours, Jan Ponnet tries to develop a keen eye for the subtle nuances and rhythms of life on the street, and learns to anticipate and capture these moments that might otherwise go unnoticed. FREEDOM TASTES OF REALITY Juan Barte does not choose to document what he sees, but creates a photograph that constricts the flow of information, allowing for the viewer to further investigate and question what they see. HONK KONG TAPESTRY It is the minutiae of everyday life that most defines Giles Isbell's body of work. By exploring the intricate details, Giles Isbell has created a unique tapestry of what it means to to have once called this majestic city home. DOWNTOWN ATLANTA By showcasing the understated beauty of ordinary city spaces, Branden May's photography captures the essence of urban life in a way that is both unconventional and captivating.

INTERVIEW June 22, 2022 HEBREW HALLOWEEN ​ Photography by Mark Zilberman Interview by Melanie Meggs For Mark Zilberman, photography has been a life-long journey of exploration and discovery. From his early days when his mother bought him his first camera, to the freelance photographer he became in New York City, to his forays abroad as a photojournalist, and finally to his current career as a social worker. With a keen eye for the extraordinary in everyday life, Mark has been able to document a world often overlooked by the public, sharing his rare observations with the world. His latest project, HEBREW HALLOWEEN, is a captivating look at the Haredi community of Satmar Jews in Williamsburg. Through this series of photographs, Mark takes us on an intimate journey exploring the customs and culture of this tight-knit community as they celebrate Purim, a joyous holiday that is particularly celebrated in this part of Brooklyn. With his camera, Mark brings to life scenes of traditional costumes and rituals, while also providing a glimpse into the lives of those living within the Haredi community. Mark's work as a photographer has been deeply informed by his experience as a social worker over the past two decades. With a unique perspective on what it means to be human, he has used his art to bridge cultural divides, bringing us closer to understanding one another. In this interview with The Pictorial List, Mark shares his story and his photographic journey, offering us an intimate look into the life of an American photographer who is deeply connected to the people and places he captures. “I was raised in a reformed Jewish home on Long Island. There really could not be a more differentiated approach to Judaism than that of the reformed Jews and the Satmar. I can have very different views of life than Satmar. Some of their stances, quite frankly, anger me. And yet, I am drawn. Who are they? Why do they do what they do? In the attached work, I ventured into Williamsburg on the Jewish Holiday of Purim. This is a visual day, to be sure. Basically, this is HEBREW HALLOWEEN.” IN CONVERSATION WITH MARK ZILBERMAN THE PICTORIAL LIST: Mark please tell us about yourself. What drew you to photography? What was that moment that you decided to pick up a camera? MARK ZILBERMAN: My photography journey has bookended my life. My first experience was when I was 6 years old. My mother was taking my brother and I to Washington DC to see the Japanese Cherry Trees in bloom. We walked by a drugstore window where I saw a bright shiny yellow box and said I wanted it. It was a Kodak Instamatic 104 with cartridge film and flash cubes. There I began and continued uninterrupted till my early thirties. During this period, I made my living as a freelance photographer in NYC. At this point I learned mostly on my own. Very much with the incredible photography book series by Andreas Feininger. But also, while pursuing a degree at Arizona State University and courses taken at Phoenix and Scottsdale Community College and SVA in NYC. Additionally, several years working as a photographer’s assistant in NYC where I had the opportunity to work for many amazing photographers. As a freelancer in New York City, I photographed for magazines (BusinessWeek, Forbes, Eastern Airlines just some of them), and graphic designers (working on annual reports). As time went on my interest went more towards photojournalism. I went on several trips to Gaza, the West Bank (photographing settlements there), Panama (during the reign of Manuel Noriega), Nicaragua (during the time of the Sandinista Contra conflicts). I made a decision to leave photography at that point and return to college to get a Master’s degree in Social Work. The move into socially relevant work was consistent with the changes going on with me in my photography. I have worked in that field continuously since then. Though, it’s difficult to say how much, my work as a social worker for over 20 years certainly has informed my photography. After about a 20-year hiatus from photographing, I slowly returned to taking pictures. There was a learning curve in becoming proficient in digital photography. I love digital photography. Analog photography is not romantic to me, as it seems to be for many other younger photographers. I just can’t get nostalgic over the scent of acetic acid in an enclosed dark space. As I don’t long for push mowers. I enjoy the immediacy and easily accessible control of digital. Along the way I started to look again at my work from the past. It was interesting to see that the pictures that I most liked at this point in my life were the images that were most like pictures that are done for photojournalism and street photography. And this is the direction that I’ve been going ever since. I also shoot weddings. But I don’t do these in the traditional sense. My weddings are in a documentary wedding photography genre (aka candid). And I enjoy them thoroughly because I pursue them as a street photographer. The amount of emotion that is going on at a wedding is abundant. And this is what I seek to catch on these assignments as well as on the street. Strong emotion. TPL: Tell us about the series that you submitted to us. How and when did this project first manifest for you? What is the full story behind the project? What was the inspiration? MZ: I don’t see myself easily fitting into any one group. Many of my views consist of positions that one would tend to find in very different groups. I can have at the same time, feelings of inclusion and exclusion. I can feel both acceptance and as an Auslander. It is a bit of a cliché, though still true nonetheless, that the camera can be a passport. It can be a raison d’etre amongst people and peoples you wouldn’t ordinarily be amongst. I found/find myself both photographically and personally being energized and pursuing photography in what would be called (although I hate this term) “subgroups”. I did this for seven months in Kibbutz Beit Alfa in the Jezreel Valley at the base of Mt. Gilboa in Israel. And, then again, photographing for several years in a rural upstate New York bar that effectively serves as the town green in the hamlet of Andes, New York. And, as you can see in the accompanying photographs, in the Haredi community of Satmar Jews in Williamsburg Brooklyn. I was raised in a reformed Jewish home on Long Island. There really could not be a more differentiated approach to Judaism than that of the reformed Jews and the Satmar. I can have very different views of life than Satmar. Some of their stances, quite frankly, anger me. And yet, I am drawn. Who are they? Why do they do what they do? In the attached work, I ventured into Williamsburg on the Jewish Holiday of Purim. This is a visual day, to be sure. Basically, this is “Hebrew Halloween”. People are dressed in costumes. They are in a powerfully festive mood. They are celebrating the failed destruction of the Jews living in the Persian Empire. It is a moment of joy and vindication. It is a statement that at times when God seems most remote, God is there. I can’t think of a more needed day than this in these times. With the camera, I was not a stranger. I was accepted. It was a basis for conversation, learning and growth. Photographically, I am looking to reveal the distinctiveness and uniqueness of these people. As well, allow myself to apply my chosen photographic style to make compelling, feeling and sometimes humorous imagery. I am drawn to images that show glaring and/or subtle juxtapositions. Often, these are evinced in facial expressions or body gestures. Other times in the light or color. I want my pictures to be strong. I want them to possibly entertain. I want you to feel. Something. Often, these are not necessarily pictures of anything. They are themselves. Themselves only. Then again, as often, they are quite rooted in precisely what is in front of me. This medium offers such an abundance of possibility and directions to go. Often, it’s difficult for me to discipline myself. But then, why should I? TPL: Regarding your photography in general, what is the story you want your photographs to tell? MZ: This is a difficult question to answer. I’m not sure that I’ve a single story to tell across all my photography. I struggled personally in recent years with what I feel is an absence of a singular style in my work. And it would seem that this is necessary to achieve some kind of notoriety. And I can’t tell a lie, I want my work and myself to be noticed. That in no way interferes with my desire for joy in the act of photographing. Emerson once said “a foolish consistency is the hobgoblin of little minds”. As such, I have no hobgoblin. But to answer your question, and I do want to, there are different stories. One story is the abundant beauty that is around all of us at every moment. And no medium allows for their preservation as well as photography. Another story is the is the transcendent nature of photography itself to present an entirely different abstract reality which is the photograph itself. And yet another story is the ability to elicit emotions via the photograph and yet these emotions may well have not been present at all at the time the picture was taken. TPL: What does it take for you to photograph in a certain moment? Is it planned or solely driven by instinct…or a bit of both? Describe your process. MZ: These days, I carry a camera all the time. Somewhat because I want to be able to catch something that is happening at any given time. And at other times, to give wings to the feeling or impulse that makes me want to interact with my environment and create a photograph. Of necessity, as I must make a living, I often need to plan the times that I am photographing. But, at other times it is instinct. One of the beauties of street photography is the ease of access. You really just need a simple camera. But then maybe, access is not enough. We are dependent on moment, light and luck. TPL: Is there any advice that you would give yourself if you started photography all over again? MZ: Don’t try to make a living at it. Regardless of whether you are successful or not and making a living at it, you will likely not have fun doing it that way. This is advice that I would have given myself knowing what I know now. I don’t want to suggest that there aren’t photographers who are making a living at photography who are not having fun. But for myself, who struggled to find out what “they” wanted all the time was poison to me and my work. ​ ​ I don’t see myself easily fitting into any one group. I can feel both acceptance and as an Auslander...it is a bit of a cliché, though still true nonetheless, that the camera can be a passport. TPL: What other photographers do you look for inspiration? MZ: As I have been taking pictures for many years, there have been MANY photographers that I have looked to for visual and personal inspiration. At this point in time, I can say that Bruce Gilden, Richard Kalvar, Vivian Maier (omg, what a story), Jill Freedman and Larry Fink (the perfect model for the wedding photography that I like to make). Next month likely, I can give you another list of different names. And I can go to Instagram anytime and come up with a long list of photographers that I quietly curse for making such amazing images. The amount of skilled and brilliant photographers roaming the planet is staggering. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? MZ: James Nachtwey. Not sure I’d have the nerve, though. I see so much imagery from conflict zones. But I’ve never seen anyone’s pictures that are nearly as powerful and representative of war as his. I wish he was working in Ukraine, now. TPL: Is there a special photographic moment you recall that will always remain with you...one maybe that changed your view of the world in which you shoot in? MZ: Unfortunately, at the present time, there are too many moments that remain with me and remind me of the time we live in. Those are the undesirable moments of confrontation with people in public who become resentful and angry when I might be taking a picture that includes them on the street. I really mean no harm. And, in fact, the people in my pictures on the street are really props in my images. These images are rarely about them. They will say, “just ask first”. Sometimes I do. But many images are of a moment that will be gone by then. This isn’t a scheduled portrait session. They will ask me why am I taking their picture? I struggle for an answer that won’t sound like evasive bullshit. More often than not, I don’t know why I am taking a picture at the moment I’m taking it. I just know I have to take it. But this is not what they’re asking for. And they ask what I’m going to use it for? And the truth is, probably nothing. Maybe Instagram. Maybe the Museum of Modern Art. I have no idea. But I think these moments are evidence of the times and places we live in now. People in this country and throughout the world have become simply “wound too tight”. TPL: What camera do you use? Do you have a preferred lens/focal length? Is there any particular equipment you need or wish you had to help you achieve your photographic vision? MZ: Presently, I am using Olympus equipment. Previously I used the excellent Nikon D700. But it has the undesirable effect of getting heavier and heavier as I go through the day. In what used to take a very heavy backpack to carry with Nikon, I can easily carry in a shoulder bag with Olympus. Frankly though, if I was starting again, I would pick Fujifilm cameras. They bear some resemblance to the original 35mm film cameras that I find were so much easier to use. Back then, you could pick up basically any 35mm camera and use it. They would be some differences. Not many. Now, you can pick up one model of one manufacturer and you’ll need to thoroughly go over the instruction manual to understand that camera even though it is the same brand as another camera you presently use. In terms of preferred lens, I have been walking around with the equivalent of a 35mm lens for a while. And now switching over to a 24 mm. But I also like zoom lenses very much. So many photographers decry zoom lenses. I don’t know why. It’s true that prime lenses are generally faster than zoom lenses. Generally, I don’t need something to be so fast. And I like the options that zoom lenses offer. However, as I now go everywhere with a camera, primes are just lighter and easier. As for equipment that I might need or wish I had, I think I am pretty good right now. That will probably change in the future. TPL: What are some of your goals? What direction do you think you will take your photography? Where do you hope to see yourself in five years? MZ: I really just want to continue making pictures as long as I can. I want my work to evolve to have identifiable characteristics that would be mine. Also want to be working on projects. Not just making singular images, but collections of images that are about something. I want to immerse myself in situations. I would like to take what I have learned and come to know in my social work and merge these disciplines into coherent bodies of work that neither social work or photography could do alone. Some of the most growing and exciting times in my life were during the period when I travelled quite a lot. Photography, in a way, becomes very easy in a new and strange environment. Pictures scream at you. Too long in any one place and things can become banal. Going to a new place can be so liberating and stimulating. And, can definitely change the way you see when you return home. TPL: “When I am not out photographing, I (like to)… MZ: Roll down the windows, drive 10 miles over, turn up the volume to 11 and listen to Dire Straits.” Mark Zilberman's journey as a photographer has been an inspiring one. Mark's latest project, is a remarkable look at the Haredi community of Satmar Jews in Williamsburg and a reflection of his deep connection to the people and places he photographs. We encourage everyone to explore Mark's work and learn more about the extraordinary beauty that can be found in everyday life. 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