LORENZO VITALI be inspired Gallery // ARTIST'S STATEMENT // Creative and experimental, always attentive to new artistic proposals in his environment, Lorenzo develops the aesthetic sense of his works by combining classic elements and innovation. He pays particular attention to shapes and materiality. He frames his work by him in a conceptual discourse with a marked tendency towards formal research. LOCATION Milan ITALY CAMERA Canon EOS R5 CATEGORY fine art photography, abstract, conceptual WEBSITE https://www.lorenzovitalifoto.it/site/ @LORENZOVITALIFOTO ​ ​ FEATURES // The Memory of the Female Body An Arrhythmic Succession Of Interrupted Pauses Sahara: The Shape And The Shadow They Have Gone

PICTORIAL STORY | BOOK January 27, 2023 TRAVELLERS & THE APPLEBY HORSE FAIR Photography and words by David Gilbert Wright Deep in the heart of the County once called Westmorland, near to the Lake District lies the small town of Appleby, nestled on the side of a valley straddling the River Eden. The Settle to Carlisle railway runs through this town, being one of the stops on it on what is known as the most scenic railway journey in England. Appleby has become known for the horse fair that first came into being in 1685. It is the biggest horse fair of its kind attracting thousands of people. So what actually happens at the fair? Travellers, Gipsy and Roma come from across the British Isles in the week preceding, a fair that is usually held in June. They travelled to Appleby using both motorised and horse drawn vehicles. Horses and ponies of all kinds, sizes and breeds arrive at the town to be exhibited, shown off and sold. The traveller community pitch up there bow-tops, motorhomes and mobile caravans in up to severn fields outside of the town boundary. They have been doing this now for centuries and as such, it has become a time when they meet and renew friendships, acquaintances and business bonds. I first became aware of the Appleby horse fair in the early 1980s quite by chance and in a totally different context. I was travelling India engaged in a different photographic project. I arrived in the desert town Jaisalmer in Rajasthan. It was the home of the Pushchair Camel Fair. It was here that a local told me of the horse fair in England. Many years passed before I got around to photographing it. I had seen other photographers’ pictures of the fair. They concentrated on the show parts like ‘The flash’, which is where those selling their horses ride them at speed up and down the hill into the town. Another well photographed scene is the horses being ridden around the River Eden. I realised that one aspect of the fair seemed to be relatively under photographed. It was the actual trading aspect. This involved getting the horses ready by washing and grooming and then doing the deal. It all takes place way out of town in the quiet roads and farm tracks near Gallows Hill and the Long Marton crossroads. Here you can find, if you are lucky, groups of mainly men sizing up the horses, haggling and eventually sealing the deals. Listening in to one deal, I heard the man suggest a horse was past it in order to keep the price down, while the other argued that it was capable of pulling a trap at speed. Each tried to position the price until a compromise was reached. Bluff and bravado were key and eventually they would spit on their palms and seal the deal with a handshake. (I was witnessing something that had not changed for centuries). Traveller, Gypsy and Romany people have for a long time been heavily involved with horses. They take them seriously and care for them greatly. However, these people have traditionally been regarded with suspicion when they arrive in a town or village. Why is that? Humanity has moved through a number of phases from its origins as hunter-gatherers. The advent of arable farming brought a need to settle and enclose the land to protect the crops. As production increased so did the need to trade surpluses. Settlements grew into market towns and the enclosure of more and more land put pressure on those still moving their livestock to give up that lifestyle. It is easy to see how the communities would regard such people as 'other' or outsiders. To protect their own way of life, settled people started to invent stories about the travellers as untrustworthy. Crimes were attributed wrongly to them. Even in recent times, we were told "Don't trust a tinker!" My grandparents were collectively grouping anyone who seemed to fit the bill of living in a caravan and moving around the country. The business of buying and selling horses was the province of men. Caring for the horses, exercising them and learning the ropes are what the young boys do prior to their rite of passage. Becoming a man to these families involves many things but one thing that is apparent is that horsemanship is in the blood. This can be seen during the fair as boys and girls come and go along the country lanes, riding the horses. Look closer and you realise that most ride 'bareback' with just a pair of reins. And the speed! What is it about the young? They seem to love speed. Galloping along with the wind in their faces, they are natural riders. Another thing you cannot help noticing is the boys sport very smart, hairstyles. Shaved around the back and sides and long on top, neatly combed and greased back. As they ride past or stand holding their horses they chat to each other, unaware of the way girls are looking at them. The fair is not just a place where people renew friendships and trade horses. It is where the emerging adolescents begin their journey into relationships and adulthood. Teenager boys would brag about how fast their horses were in the way that teenagers in our wider society talked about their cars. Teenage girls, who were just coming of age would be dressed so glamorously you might be mistaken thinking that you were at a prestigious fashion show. Their aim, I was told was “to get the attention of the of the lads” and they certainly did that! Pressure has been on the Authorities to curtail or even end the Horse Fair. However, the reasons put forward are dubious. The Police have stated that given the size of the fair with up to 10,000 visitors, the level of crime is extremely low with only 7 arrests in 2021, mostly for drunkenness. Only 29 tonnes of litter was left in 2021, much from the small businesses and all was cleared at no expense the ratepayers. Indeed, many local businesses benefit from the fair. It would be wrong to stop the Appleby Horse Fair for unsubstantiated reasons. It seems to be more a case of prejudice than actually evidence. VIEW DAVID'S PORTFOLIO CLICK ON IMAGES TO ENLARGE The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. Buy the book >>> read more >>> BUILDING A SOLID FOUNDATION Martin Parr Foundation supports photography and photographers of the past as well as genuinely mentors and creates new opportunities for photographers of the future. 18 >> 20 Elsa Arrais and Paulo Kellerman composed a simultaneously artistic, emotional, poetic and imagery portrait of Leiria in a predetermined period of time. AMERICAN BEDROOM Barbara Peacock opens the door of American bedrooms, illuminating the intimate thoughts, revealed through the bodies and souls of her subjects. TRAVELLERS & THE APPLEBY HORSE FAIR David Gilbert Wright has gained access to this close-knit community, to capture life at the remarkable Appleby Horse Fair. ZOONOSIS Zoonosis is the culmination of two years of Adrian Pelegrin tracking all the news about the novel coronavirus and its consequences. COMEDIANS In his new book COMEDIANS, Steve Best documents the British comedy scene backstage and onstage. GROUNDED Over the last year, photographer and digital nomad Samantha Brown, has documented the pandemic, mostly from the back of her campervan within local lockdown restrictions. THE PROVINCIAL Conflicting emotions. Good and sad memories. Antonis Giakoumakis takes us on a very personal journey about his province. QUIRKYVISION: The French Connection Impertinent and humorous, Meryl Meisler plunges us into a captivating city and time, 1970s and 1980s New York, with her new exhibition. MELBOURNE UNMASKED Focusing exclusively on one city, AASPI's new book MELBOURNE UNMASKED presents a remarkable array of street photography that features some of Australia’s finest practitioners of the art. FILL THE FRAME The popularity of street photography is greater than ever. Fill the Frame follows eight contemporary New York City street photographers documenting their journeys up to now. SMALL HOURS Through the night to dawn the following morning, Philip Butler takes us on a photo tour of Malvern that the tourist board probably wouldn’t sanction.

INTERVIEW November 18, 2020 ON ASSIGNMENT ​ Photography by Federico Quintana Interview by Melanie Meggs Federico Quintana is a renowned photojournalist with a fascinating story. Born in Italy and living with an Argentinian passport due to his father's profession, Federico was drawn to photography from a young age as a way to capture memories that had a lasting impression on him. After studying journalism and photojournalism, he dedicated himself to exploring and documenting the lives of people worldwide, from salt and tin miners to remote indigenous tribes. His work has taken him across Patagonia, northern Argentina, and China; no matter where he goes, he always captures the essential stories of his subjects. In this exclusive interview for The Pictorial List, Federico shares his intriguing journey through Patagonia, Antarctica, and China and the conception of his projects, and the issues at the heart of his work. From his beginnings shooting in analog during the 90s to now shooting in digital, Federico has experienced a range of different styles and processes. Join us as we follow his journey and gain insight into his captivating work. “Places don’t really make the difference, it's all about going far and encountering people across the world or across the street and establishing a connection through the camera as a means of communication. That is what drives me I think...I am a storyteller, lazy in words faster with a camera. It’s the desire to convey one’s emotions and visual record.” IN CONVERSATION WITH FEDERICO QUINTANA THE PICTORIAL LIST: Federico please tell us about yourself. How did you become interested in photography? FEDERICO QUINTANA: I was born in Trieste, Italy in 1966. My mother was Austrian/Italian and my father was an Argentinian career diplomat. Because of my father’s line of work I received at the time only the Argentine passport. My father was stationed in Indonesia. There was great political instability, so my mother came to Italy temporarily. Shortly after, my father was transferred to Beirut, Lebanon and so was I, at three months of age. We stayed in Lebanon the first six years of my life and as a result my first language is French. From that point onward we continued to move around the world. It was two years in Moscow, two years in the Ivory Coast, back to Argentina under military regime and then Switzerland, when I was around eleven. I stayed in boarding school until the age of sixteen. My parents separated and my father returned to Argentina to follow his career while I ended up in Paris, France with my mother and finished my studies at the American High School of Paris. At nineteen I moved to Arizona where I had friends and worked in construction while studying computer science at a technical school in Phoenix. I was already photographing a lot at the time with my first camera, an old Canon FT that my father had given me a few years earlier. My AA degree in computer science was from an accelerated program that lasted one year instead of two but during that time I had met the owner of an Aerial Survey and Photography company who offered me a job if I wished to return. I also discovered that Arizona State University had one of the best Journalism Schools in the States in addition to being the only one offering a photojournalism emphasis program. I had at this time decided I wanted to become a war photographer, and at the same time I had also requested to the Italian government my birthright citizenship, so in response they called me back to Italy for military service. Because of my interest in war photography, I volunteered as Airborne and subsequently in Alpine Airborne Rangers 'Special Forces', as I wanted to get proper training for conflict situations. After finishing my military service I returned to Arizona for my B.A. in Journalism and Mass Communications and a Photojournalism emphasis. I worked my way through University with 'Landiscor Aerial Survey' in Phoenix, where I had every job available in the company at one point or another. Finally I returned to Italy for a short time before returning to the US to finish university and complete my degree. At this point I met the lady of my life who accompanied me back to Arizona for my last year and graduation. After this we married in Las Vegas, with only one condition on her behalf: “no war!” So would documentary work be okay, honey? Laura is of course still by my side. I wanted to move to Argentina and get to know my heritage... while growing up I had only lived there for two years and in the worst imaginable time of a military regime, which later culminated with the Falklands war. We moved to Argentina in 1996, and the first thing I did was to travel to the Falklands for my first documentary work attempt, this resulted in an important exhibition at a major university in Buenos Aires where I met the owner at the time, of Lugares magazine. I soon started contributing with them and my photographic career began. After a year I decided I really wanted more knowledge in photography and returned to the US, this time in Santa Barbara, Ca. at Brooks Institute of Photography. I wanted a Masters degree and they had accepted my enrolment for two years. After six months, I had started at Brooks, the owner of Lugares sold the magazine to Argentine Newspaper La Nacion but remained as director and editor of the magazine. She offered me a position as staff photographer if I would return, so of course I did. Lugares magazine is a high level travel magazine inspired by Condé Nast Traveller, but mainly dedicates its coverage to the Argentine territory, although it also encompasses many world destinations. They do two special editions at opposite times of the year, one in Patagonia and one on the North of Argentina. My first assignment as staff photographer for the magazine was the Patagonia edition. It lasted three weeks and Patagonia literally blew my mind and sunk in very deep. There are many similarities with Australia, so I think you might know what I mean. I just love the vastness, incredible beauty and intense loneliness you can experience in such places, it puts you in touch with yourself like nowhere else. I love the land, rivers glaciers and horses that play such an important role in that territory. I am also an avid fly fisherman and Patagonia never disappoints. In the year 2000 my son Matteo was about to be born and the situation in Argentina was very bad, a terrible crisis was driving people away from the country and my position in the magazine was difficult, as the management had changed and they were requesting the rights to my images, which I could not accept. During a trip to Europe I went to visit SIPA/ PRESS - IMAGE in Paris, and they proposed a collaboration that I accepted. TPL: Tell us about your first assignment to Patagonia? FQ: Before leaving Argentina, on a short assignment about grey whales in Peninsula Valdés, halfway down the Patagonian territory I discovered a story that would keep me returning to that point for the following three years. In the northern tip of this peninsula lives a pod of Orcas that have developed a very specific sea lion hunting technique by stranding on the beaches to capture their prey, but my focus was on the park ranger who had developed a means of communication with these supreme animals with the use of a harmonica. This has been my most important published work to date as it was featured in BBC Wildlife mag, which ran simultaneously with the major cinematography film production “The Blue Planet”. Animan magazine and many others also later published this work which was handled by Sipa during the times to follow. For the last year of the project I worked in stills and video because of the unique situation with the Orcas. My footage was later acquired by NGS Television for a documentary film. During the years of this project I realised Peninsula Valdés was directly on the opposite side in Patagonia from the Fitz Roy and Cerro Torre mountains in el Chaltén, and you could access the Continental Ice Field from there. This is the world's largest ice field beyond Antarctica and only a few hours drive from Puerto Valdés. So I tagged along a proper self sustained expedition covering a good portion of the ice field during a twelve day hike on the ice. In the end I left Argentina in the year 2000 and have been living in Italy ever since, but I kept my most important belonging there: my 1995 Toyota 4Runner, which has truly been a spaceship, going full length from Buenos Aires to Ushuaia at least 6 times throughout the years. It actually stayed in Ushuaia a full winter after the Antarctic expedition, as I had ran out of time and returned to Europe by plane. I recall calling the hotel that had kindly allowed me to use the parking lot, for information about my truck and for three months the reply was: "sorry we can’t see the vehicle under the snow"... I returned in the spring and drove the 3000 km back to Buenos Aires once more. TPL: Antarctica is on a many photographers' bucket list. Describe seeing it through your lens for the first time. What was your photographic process in your Antarctica series? FQ: The Antarctic assignment was for Lugares/Nacion, as they had proposed a book project on Patagonia with the images from all the assignments. The only missing territory was the Antarctic Peninsula, which in the time of Pangea when all the continents were attached was united to the tip of South America. So for this project in 2010, I drove from Buenos Aires to Ushuaia where I embarked The MV Ushuaia for a 12 day voyage to the Antarctic Peninsula. Travelling to Antarctica is only possible during the summer months as at the end of March when winter approaches, the ice pack forms so hard it will trap any ship to remain there until the following summer when it melts again. I was on the last trip of the year before this happens. At that point Antarctica is alienated from the world as no means of transportation can reach the continent safely. Antarctica is the coldest, farthest, most remote, most dangerous and most mysterious continent in the world. That was our intro, from our expedition leader the first day aboard the MV Ushuaia. The ship was not an ice breaker but the hull was specially reinforced for that purpose and the expedition was semi-scientific as we had wildlife and climate scientists onboard as well as a small group of fortunate passengers and the photographer... Although most assignment for the magazine where conducted together with a journalist, in this case I had to do both the writing and photography as there was only one spot available onboard. This was 2010 and the digital world of photography had already taken over the disappearing film, but the only digital camera I owned was an Epson RD-1, which accepted my Leica lenses, not very useful for Antarctica. My main working equipment at the time was a Nikon F5 and F100 along with 300mm and 600mm lenses used for the Orcas project and a couple of short and medium zooms. Lugares gave me, literally, all their last film stock, about 30 or 40 rolls of Kodak V100S and Fuji Provia 100. On my earlier Patagonia assignments it was always a mix of Nikon and Leica M6. Although Leica rangefinder M cameras have always been with me and my favourite photographic tool of all. They were in those years a complement to my gear as I was covering subjects that ranged from interior architecture with lots of artificial lighting to wildlife where rangefinders really don’t do too well. So because of my heavy weight gear in Antarctica the Leica’s remained at home. The project in Antarctica was the last of my film photography with Nikon and the real long lenses, I still use Nikon today in digital for specific assignments but only if I really have too. The long lenses were replaced in 2015 for Leica M9-P’ and M Monochrom, after putting them to use for world championships of high speed motorcycles for a couple of years. TPL: Do you have a favourite quote/lyric/saying that especially resonates with you? FQ: The only quote that often resonates in my head is not exactly very nice... especially if one doesn’t know why...It is from a play by W. Shakespeare: “No beast is so fierce that has no pity... But I am no beast and therefore have none”. In Patagonia I once saw an Orca capture a sea lion pup on the beach and drag it out to sea, clearly for an easier kill. As the pup struggled for his life when she let go, instead of killing it the Orca accompanied the pup back to the beach almost nursing it and stayed a little on the shoreline to see it climb out of the water safely. This event really blew my mind, I didn’t know such an apex predator could feel compassion, as that was exactly what it looked like. I wondered a lot about that and the perfect balance of things in nature. I also often compare human nature to this incredible act I had the privilege to witness. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? FQ: At the cost of sounding boring I surely would start by Henri Cartier Bresson and Robert Capa, who laid the guidelines for 21st century documentary and photojournalism in their respective genres. During the beginning of my professional career I was extremely influenced by the early work of Alex Webb in revolt stricken Haiti, 'Under a Grudging Sun' and later 'Amazon: From the Floodplains to the Clouds'. ​ ​ What makes it worthwhile is freezing the memory of the human encounter, which stays in an image and leaves a mark. Surroundings just establish the remoteness and humanity the similarities. 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? FQ: My main cameras for personal projects have always been Leica. All cameras are just tools to achieve what a photographer needs and the Leica rangefinders are extremely special for documentary work. The greatest difference with all other cameras is the way they are in front of the photographer’s face. Leica M cameras only cover a very small portion of the face when manual focusing, this establishes very direct approach to the subject. You just don’t get to hide behind the camera like with a reflex camera... This always leads to a deep interaction with the subject and is almost always reflected in the images. Leica’s are also extremely quiet, discreet and small and the glass is not comparable to anything else around. Finally, they are just beautiful instruments no matter the year of production. I continue to work with the M9-P and Monochrom. I tried Fuji (xpro-2 and x100 (t and v) for a while and although truly wonderful cameras they don’t produce the rangefinder shooting experience obtained with a Leica M. It is not just a quality thing, it is a matter of how you move, frame, pre-focus, the Leica forces me to visualise the image before I shoot so I think and prepare better to be in the right place when something is going to happen. In short, I shoot a lot less and a generally a lot better. I am a slow changer so although my cameras are three generations behind the latest models, I am not letting go yet of the M9P’s and Monochrom. The M9 and MM have CCD sensors, which are different from anything ever produced and return very unique files with unequalled dynamic range and colours at base ISO. The sensors were also created by Kodak, for which I always had a preference, and these cameras reflect this very well. Although they are not perfect – white balance is often off and you can hardly push them beyond ISO 800, but that is more than enough for me. Although I have no plans to change I am always paying close attention to what the Leica masters are doing in Wetzlar. My preferred focal length has always been the 35mm Summicron, and I shoot mostly with my 20 year old version (IV) which I always find amazing. That would be my desert island choice:) Next I love the 21mm asph. Elmarit and also use the 50mm asph. Summilux, which always saves the shoot and can never fail. When I work seriously with Leica’s or when I travel, I always have two bodies and those three lenses, a very small flash and a remote trigger. I generally also take along the 90 Elmarit, just in case, but rarely use it. The coolest combination is one M9P and the Monochrom, it's like having a camera loaded with Tri-X and one with Kodak slide film. The Monochrom returns incredible B&W but most importantly forces me to think in B&W, and it really changes the approach when shooting without the choice. Photojournalism, street, and documentary photography are all related in the approach which ultimately leads to strong images when there is human interaction involved. So in those fields, your behaviour and how you move and interact with people are the more important aspect and skills necessary, because they will create trust and confidence, allowing the photographer to shoot freely and move faster when it counts. This process also always has room for improvement as it has to do with all the actions you take in life. It’s about communications skills throughout the photographic process. So as far as tools go this is really it for me but I am also image quality obsessed and completely fascinated with last state of the art M10-R, but not yet! TPL: Are there any books that you have read that have inspired your creativity and that you would like to recommend to us? FQ: One of the most amazing stories and books ever, is the story of British explorer Ernest Shackleton who got trapped two winters in a row with an 80 men crew and managed to keep them alive and in good spirits without any human loss. An absolutely incredible human endeavour and adventure to save their lives. All recorded on large format camera by a great Australian photographer...I highly recommend this book 'Trial by Ice: A Photobiography of Sir Ernest Shackleton' about human courage and great adventure. I love several photographers from National Geographic as well, but one in particular just was so cool that when I received the magazine, the first thing I would do is look for his name to see if he was inside....David Alan Harvey...he just was and still is fantastic, a true light chaser and amazing story teller with a flair and the most incredible visual acuity. I learned from his photography to “dare” and go beyond my shyness when approaching people shots. I learned that the image comes before all to a photographer and you can’t hold back, ever. If you want it you have to go get it! I learned from David that the great shots are always one step further than you think and always on the edge of failing! Any of his books are highly recommended. But indisputably the most incredible photographer and man of all, must be Sebastiao Salgado, in the footsteps of Bresson. Salgado’s photography, humanity and sacrifice in life for this art form, goes beyond words, he might just be the best in the world. I was very lucky to run into these guys in life at some point or another. Sebastiao Salgado showed up in Peninsula Valdés when I was shooting Orcas. He was working on a 5 year project for UNESCO, which encompasses this area in their protected territories. From Salgado anything... but early 'Terra', definitely gave me a lesson at the time. In the year 2000 I met David Alan Harvey in Perpignan while attending “Visa pour l’Image”, as he was signing my copy of his book, 'Cuba' and recently in Puerto Rico for one of his workshops. His last book, 'Off for a Family Drive', is just absolutely fabulous, downright to the awesome smelling black organic paper. It is a spread out collection across the years...superb. The same goes for James Nachtwey as far as war is concerned, in direct lineage with Capa. He is just incomparable in the world of war photography his images are just poignant. I could list books from these photographers but really, anything you see that comes out from their cameras is bound to be a masterpiece. James was present at a casual dinner in NYC with friends in common, I was so surprised. I thought he was a fake... It is funny how life seems to consider a person’s dreams, sometimes... Bruce Davidson as one of my all time favourite photographers who although truly known for his extensive bodies of work with New York gangs in the 50’s and 60’s and what absolutely blows my mind is his more rare color photography. 'Survey' would be a good one in B&W. TPL: You also shared a series of photographs from China with us. Describe your time there. FQ: My work in China has always been personal and therefore shot with my most natural and true vision about photography. I started travelling to China on my own in 1998 on a freelance self assignment to photograph a cultural worldwide event where China opened the doors to the Forbidden City, featuring Puccini’s Turandot Opera. This event had monumental proportions with Zubhin Metha as conductor and produced by Zhang Yimou. I had managed to get accredited at the Hilton international press room, but most importantly about the image process I decided to shoot with Leica M6 cameras and Kodachrome film. Consequently I stayed three months in China documenting, in Xi’an, Guilin, Shanghai Beijing, Li River and so forth. From the start I was very interested in the juxtaposition of the highly modern developing China and extremely rural and antique culture, even in the urban environment, spread over a period of 20 years, both with digital and analogue images. To me this work is about reflecting the way I saw through my lens then and now, while attempting to create a balance between the modern medium and the old. In recent years I travelled throughout China on corporate assignments and shooting in parallel on my own. To me these images show my nature and approach to documentary and street photography but also the changes in time and the things I can improve. What I mean, is that I’ve been searching for this colour combination and shooting style in the digital world but also kind of picking up from the best of my documentary photography from those years by applying it to what I am doing now, as a means to pave the direction in which I want to continue. The Leica M6 combination was to me the ultimate as I had a passion for the ISO 64 Kodachrome, which was so picky in exposure and had a mild magenta shift, so difficult but so good at the same time if the light was right and there was something red in the image. The equally loved (low light) Kodachrome 200 was grainy but also so sharp and with a slight shift to orange. After all they were the favourite and most used film ever at National Geographic, and both had a very specific and unique fingerprint. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? FQ: At this time I am trying to consolidate my old images in perspective with more recent work, eventually I plan to make books out of a rather large archive of images. At the same time, the thirst for shooting is stronger than ever and I want to up the level of my photography. I am also considering to try and find a photo agency for future collaborations. I feel I still have a long way to go and my approach is constantly changing, it is time I apply the experience gathered for something that is really me/mine from my soul, again. TPL: What is next for you? Are there any ideas or special projects you are currently working on that you would like to let everyone know about? FQ: I am searching for a meaningful project of human interest to follow deeply and am considering a story with Gauchos in Northern Argentina at this time (Covid permitting...). But really anything that comes up and will keep me shooting! TPL: “When I am not out photographing, I (like to)... FQ: I have many interests in life (other than photography) and they have changed several times throughout the years. At present, if I am not shooting, it’s certainly because I am sitting on my very loved Harley Davidson, shooting American traditional archery or Fly Fishing somewhere far, possibly in salt water or simply with Laura, Matteo and my super terrible German Terrier, Athena.” The journey of Federico Quintana is one of a lifetime, capturing the essential stories of people all around the world. His passion for photojournalism shines through his work, making it truly captivating. Federico's projects have taken him to some of the remotest locations on the planet, always aiming to bring to light the stories of his subjects. We are honored to have been part of Federico's journey and to have gained insight into his work. To learn more about Federico's projects, use the links below and explore the beauty and stories that he has captured throughout his journey. VIEW FEDERICO'S PORTFOLIO Read GHOSTS OF THE ANDES by Federico Federico's instagram >>> Federico's facebook >>> read more interviews >>> COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. 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.

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 >>> COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. 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.

TONY REMARTINEZ be inspired Gallery // ARTIST'S STATEMENT // With my images I try to show the duality of things, images, thoughts. Faced with a unique reality, a "beautiful" or unique image, with the processing, with the union of several images, that reality is transformed before our eyes, it ends up presenting itself in a totally different way, harder, deeper, perhaps more reflective. I interpret photography as an interior way of expressing concerns, fears, thoughts; a deconstruction of the same reality. LOCATION Sitges SPAIN CAMERA Olympus OM-D, iPad CATEGORY abstract ​ ​ @TONYSITGES_RG ​ FEATURES // New Realities

MERYL MEISLER be inspired Gallery // ARTIST'S STATEMENT // Meryl's series “New York PARADISE LOST Bushwick Era Disco” is an intimate journey through the pandemonium and ecstasy of New York City from the 1970s to the early 1990s. Meryl documents a tumultuous time in the city’s history marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and fiscal crises. Frequenting Manhattan’s legendary discos that arose from the disorder, she captured hedonistic havens patronized by celebrities and revelers of the night. In contrast, daylight revealed the beauty of those who loved and thrived in burnt-out Bushwick, where Meryl worked as a public school art teacher and continuously documented her surroundings. Meryl’s effervescent photographs are a personal memoir - love letters filled with compassion, humor, and angst as well - kept secret for decades until she retired from teaching. Meryl was headed to Studio 54 the night of the ’77 blackout, and the next day, she and much of the world first heard of Bushwick - a hellish neighborhood where fires and looting had erupted. Later in 2013, at BIZARRE (a Bushwick drag/burlesque nightclub), Meryl noticed a disco ball in the restroom along with another above the dance floor. This was an epiphany. Bushwick was now THE sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided becoming intertwined strands of NYC’s story and her own journey. This is when Meryl realized her photographs of Manhattan nightlife and Bushwick daylight belonged together. Meryl’s two previous internationally acclaimed books, A Tale of Two Cities: Disco Era Bushwick (2014) and Purgatory & Paradise SASSY ‘70s Suburbia & The City (2015) were just the top of the iceberg. The artist continued to dig into her archive, finding hidden treasures. Her new book, New York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021) takes an unexpected turn from clandestine clubs to the classroom where students and staff create a safe space to learn despite societal ills of poverty and prejudice. Meisler’s street photographs radiate with the joys of daily life in contrast to a background of hardship. The nightlife images expose the edgiest, darkest activities the artist has shared to date. Flash forward four decades, and Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is a nostalgia and sorrow for what is lost in the process of change. Meryl lives and works in New York City and Woodstock, NY, continuing the photographic memoir she began in 1973 – a uniquely American story, sweet and sassy with a pinch of mystery. Her work is represented by ClampArt. LOCATION New York USA CAMERA Graflex Norita (1970s & current), Minolta SRT101 (1970s), Canon Sure Short (1980s), Pentax K 1000 (1970s & 1980s), Pentax 6 x 7 (2001-2019, needs repair), Fujifilm X 100 (current) CATEGORY street, documentary WEBSITE http://www.merylmeisler.com/ @MERYLMEISLER @MERYLMEISLER @MERYLMEISLER FEATURES // New York: Paradise Lost Quirkyvision

ALEX GOTTFRIED BONDER be inspired Gallery // ARTIST'S STATEMENT // Started doing street photography in 2014. One of the greatest things about Street Photography, for me, is that not only gives me the opportunity to work on my creative skills as a photographer, but also lets me satisfy my internal curiosity to discover the city from a photographer's point of view. Walking to places I’ve never been to before, merging human figures along urban landscapes never included in photographs before, it just fascinates me. LOCATION Buenos Aires, ARGENTINA CAMERA Olympus EPL5, Olympus EPL7 CATEGORY street WEBSITE https://alexgottfriedbonder.wixsite.com/agbstreetphotography @ALEXGOTTFRIEDBONDER @RETRATOSCALLEJEROSBSAS @MACROFOTOGRAFIAARGENTINA FEATURES // Walking Buenos Aires

JAYESH KUMAR SHARMA be inspired Gallery // ARTIST'S STATEMENT // Jayesh is driven by the inspiration he finds in his culture, and commits his photography to breathing new life into dying and disappearing traditions. Jayesh does not change what he sees, but visually translates with the authenticity of his culture. “It is said that change is the law of nature, and that change has become a part of my nature. Changing the world means changing the experience of seeing the world, it does not mean that you will leave the real world and go to the world of dreams, I make my pictures with the stream of focus. My job is to know what is the truth or reality, but this depends on what your point of view is.” LOCATION Varanasi INDIA CAMERA Canon 5D IV CATEGORY documentary WEBSITE https://www.jayeshsharma.in/ @JAYESHSHARMA.N01 ​ ​ FEATURES // India's Lost Children of Postmodernism

INTERVIEW November 4, 2022 AROUND ANGELUS: The Poetry of Everyday Life ​ Photography and words by Paolo Ricca Interview by Karen Ghostlaw Pomarico Strangest things happen around the streets of Angelus. Children, men, women and the elderly of all ethnic groups and ages, are hurrying to reach the place where the religious event will take place, in thanksgiving for the mystery of the Incarnation. There is no better time to remember that you are a Christian. Every person, whether it is a tourist who passed there by chance, or an enthusiastic believer, gets carried away by the sounds and sensations of that atmosphere. The energy is palpable, it transpires strongly in the air and intoxicates passers-by, making them more docile and more meek. The light is warm, enveloping. Everything seems to be perfect, created ad hoc for the occasion. It is a day of celebration and, regardless of the knowledge of religions and local customs, the most important moment is not the event itself but rather what happens around it, the instants that precede it and define it in that atmosphere. only. This is how, in homage to childhood memories, I went back through the same streets I walked with my family when I went to St. Peter's Square to listen to the Angelus, the Catholic prayer that devotees recite every Sunday in thanksgiving for the mystery of the incarnation. The series, entitled 'The Poetry of Everyday Life', evokes an alien dimension that smells of a bubble, a protected and alternative environment in which everything, even the most banal, takes on a different connotation from normal. The subjects framed on the streets of the Angelus express the serenity that accompanies them in their faces and which, at times, takes the form of an extravagant representation. In this feast for the eyes, people move excitedly in a preserved space that appears as a small oasis within the chaos of the city. The camera goes unnoticed, because there, in that idyllic dimension, everything seems to be allowed. Screams and noises are the background to a potpourri of visual experiences, moments ready to be captured and told. “AROUND ANGELUS evokes the sensations of a special day, the memory of a magical and timeless atmosphere. Fragments of a past future in which the protagonists, far from being contemporary citizens or time travelers, are the main actors of this eternal story: a continuous seduction, which tastes like a story and a spiritual journey to which no one, not even the strongest, can resist. Around the streets of the Angelus, adults and children let themselves be seduced by the poetry of everyday life.” IN CONVERSATION WITH PAOLO RICCA Born in Rome, Paolo Ricca is a freelance photographer based in Italy. Paolo graduated in advertising graphics and later breathed the atmosphere of inks working in an old printing shop. This is where he deepened his knowledge of the use of color that would later be chosen for the realisation of his projects. Today, through his intimate photographs, cancelling the distance between the subject and the observer, Paolo loves to tell stories and fragments of everyday life. Stories of humility and determination, looking into traditions to cultivate the roots of one's future that aim to take on a documentary and at the same time artistic value. The art of framing poetry of everyday life, this is photography, for Paolo. THE PICTORIAL LIST: Paolo, The Angelus is unique to Rome, a thanksgiving for the mystery of the incarnation, when God became man, or Jesus Christ. This celebration of mortality is the inspiration for unification throughout the city. Describe for us what this means to the people of Rome, and why it is so contagious. PAOLO RICCA: The capital is one of the oldest cities in the world, with a great architectural charm and rich cultural heritage. But it is also a difficult, hectic and rather chaotic metropolis, especially for all who were born and lives here from many years. In this scenario, the Vatican is a unique city-state, situated in the center of Rome, Italy, and represents the heart of Roman Catholic Church. Something changes while entering the boundary of this reality, everything seems better and good, even the people. So, the Angelus is a historical event that attracts everyone, adults and children, of all ethnic groups and ages. TPL: Tell us more about the atmosphere around this magical event, how does your community prepare? You talk about the sensory perceptions that hypnotize and seduce the participants of the Angelus, are these foods that fill the air creating an unmistakable aroma that instantly brings you back to that specific moment in time? Are bells ringing? Music or hymns? PR: Every Sunday is a day of celebration and, with the first light of sunrise, many people approach the place of the event. It's early morning and many people arrives directly by subway or bicycle. Few minutes after, also the full bus of tourists arrives in the streets of the Vatican. One, two, and more, Traffic becomes chaotic, some people have breakfast, others buy souvenirs, still others, with patience, are already waiting to goes St. Peter's Square. Here, along streets of the Angelus, the atmosphere is magical. Air is crisp and you can almost touch it with your hands. The energy of street artists, the sound of the bells coming from one of the many churches nearly. Small improvised bazaars, with their souvenirs and freshly prepared foods, everything seems created to make unique this moment. TPL: You talk about the serenity you find in the faces of the people you photograph, you mention their eyes. Can you explain to us what you think this serenity is and where it comes from? PR: I think each of us has our own defects, vices and fragility, but it's often difficult to accept. Here, among the streets of the Angelus, people do not judge and everyone, like a liberation, becomes equal when compared to the greatness of everyday life. This is what makes everyone more serenity and free. TPL: In this serenity, you have discovered the extravagance of feeling free to be oneself, and to celebrate mortality to the fullest. Tell us more about this transformation that takes place, the seduction. PR: In many situations, even for unbelievers, Angelus represents a social event of aggregation brings everyone together, an opportunity to redeem themselves and, in some way, become better for at least one day. TPL: What advice would you give to someone not familiar with Rome and the Angelus, on how to participate, and the best way to share in the experience? PR: Most significant experience is not the event, important and already well known all over the world, but everything who happens around it. Here, everything, even it's most banal, if accepted with a free soul, unveils a different meaning from normal. So, you have to open your eyes and observe with the curiosity of a child, stay tuned with open heart. TPL: Could you tell us what living in Rome has inspired in your work? What special qualities unique to the ‘Eternal City’ influence your both your street and documentary photography and the way you portray your community? PR: Rome is a city of great beauty but also it comes a thousand contradictions, so, to understand it, I decided to explore it's most important and characterise themes: religious and cultural roots. First, the contrast between sacred and the profane emerges, two sides of the same coin that coexist on the border of a peaceful armistice that does not fear judgments and prejudices. Second, a lot traces of past are today present on the edge of the suburbs, where culture of fatigue still follows the ancIent gestures of one's own ancestors. In the primary colors there is humility, determination and sacrifice; a human pulse, a crossroads to overcome, a hard climb, the solidarity between people, the difficult relationship between human beings, courage and love. TPL: There is an intimacy with your subjects, an up close and personal engagement. Do you know your subjects? Please tell us about the candor you share with your subjects, and what this brings to your portraits. PR: Happiness, fear and hope. As documentary photographer I need to explore emotions lived by the subjects I decided to follow. To do this, I talk them a lot and generally shoot little at start. I explore their activities and try to really understand their daily. I often immerse myself in their personality and this approach creates a special relationship which will then be fundamental during shooting. TPL: Colour is an important thread in your work, tell us how you use your colour to create your photographic frame. The flash creates a shallow depth of field, could you explain to our readers why this is important to you in the way you create your imagery. PR: 'The Poetry of Primary Colors', is the title of the cover image of my photographic project that pays tribute who work the land. In the primary colors there is humility, determination and sacrifice; a human pulse, a crossroads to overcome, a hard climb, the solidarity between people, the difficult relationship between human beings, courage and love. I think the primary colors translates good the fragility of soul because are really raw and honest. Also, if light is good, I prefer to work with no flash because this allow me to express the authentic dignity of the subjects, and cancel the distance between subject and observer, I think. So, here is the passion of red, the hope of green, and the whiteness of blue. An authentic metaphor of life that comes out so honored. TPL: What artists have inspired you in your photographic journey? PR: I like to think my images aspire to take a documentary and artistic value, at the same time. So, as a documentary photographer, William Albert Allard and Michael Yamashita are my favorite photographers because their images capture the essence of a story through absolutely poetic language and a great light management. As street photographer, my favorite photographers are Fred Herzog, Harry Gruyaert and Alex Webb, for their great skill in composition and color management, but, mostly, for their ability to transform everyday life into art. TPL: What equipment do you use that have become the tools of your trade? Anything on your Wishlist? PR: I really started to focus on the essence of my projects when I decided to mainly use two fixed lenses. For documentary project and street photography, I mainly use the 28mm and sometimes the 35mm, for posed portraits and candid landscapes. More rarely I use flash, especially when the sun is strong and want to add more details in the shadows. My main camera is a compact, light and professional mirrorless. This is my main gear and I think it will be like that for a long time. TPL: What projects do you have planned for the future, and what they should look forward to? PR: I generally work on long term projects and spend a lot of time in searching and editorial contents. So, I would like to work soon on a dedicated project to the strength of elderly, they has really much to share and tell. PR: “When I am not out photographing, I (like to)… I love being with my family, listening to music and walking a lot. I love so much to explore a place by walking. This recharges my batteries." Paolo Ricca is an inspiring freelance photographer from Italy who uses his knowledge of color and his intimate photographs to tell stories of everyday life. He has managed to bridge the gap between subject and observer and use his art to capture the poetry of everyday life. Through his work, we can witness the humility and determination of those he meets, while also cultivating the roots of our future. We invite you to join Paolo in this journey and discover the art of framing poetry of everyday life for yourself. VIEW PAOLO'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> COLORS OF A GREY CITY In Rafa Rojas' photography project, we witness the convergence of passion and purpose, a visual ode to the city of São Paulo he calls home. 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.

CARLA HENOUD be inspired Gallery // ARTIST'S STATEMENT // I am a journalist and a photographer and work in a French Lebanese daily newspaper L'Orient - Le Jour. My pictures for the last three years were specially about the Coniche (Front Sea) in Beirut. I even did a book about the subject with a story (fiction) called "Le Chariot de Farah", edited in 2018 and an exhibition. I love this place, it speaks very well about this city that is passing through a lot lately. I love sceneries, skies, sea (always the sea) but with people, faces, attitudes that can give emotions. LOCATION Beirut LEBANON CAMERA Leica D Lux, Fuji X T1 CATEGORY documentary, street ​ ​ @CARLAHENOUD ​ FEATURES // Farah's Chariot

NAZANIN DAVARI ARTIST'S STATEMENT // I was born in 1992. I have a Bachelor's degree in Graphics and a graduate of photography at Karnameh Institute. I have attended several group exhibitions in Tehran. And have had my photos published in many books and magazines such as Glamour Affair, MP Magazine, and Articulate. I have obtained a diploma of honour in the conceptual minimalism section of 35 Awards in Russia and acceptance of my photos and participation in the exhibition at the Durbin Net and Image of the Year festivals in Tehran. My photographs are formed based on my initial mental image. After my mental imaging I will look for it in the outside world. My photographs are minimalist style and concept by expressing my mental images of liberation, flight, freedom and silence and thinking. LOCATION Tehran IRAN CAMERA/S Canon 30D, iPhone 13 CATEGORY fine art, street ​ @NAZANIN_DAVARI71 ​ ​ FEATURES // Minimalist Reverie

KONRAD HELLFEUER be inspired Gallery // ARTIST'S STATEMENT // Konrad Hellfeuer is a German freelance artist who specialises in photography and drawing. He has always been interested in art and started to develop his skills at a young age. After completing his schooling, he decided to pursue a career as an artist and has been working as a freelance artist ever since. Konrad's work is characterised by its attention to detail and its ability to capture the essence of a moment or subject. He has a keen eye for composition and light, which results in stunning images that are often evocative and thought-provoking. LOCATION Görlitz GERMANY CAMERA Sony Alpha 99 CATEGORY architecture, abstract, street WEBSITE https://www.konradhellfeuer.com/ @HELLFEUERKONRAD ​ ​ FEATURES // Eternity