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- ROUVEN KURZ
I am a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of light and shadow. I specialize in sauntering the streets, ever seeking for the decisive moment, compelling forms and enjoying ordinarities. I was proud as punch when my work was digitally showcased at no less than the Venice Biennale in 2019. Packed with creativity, I am currently delving into new portraiture looks. ROUVEN KURZ be inspired Gallery // ARTIST STATEMENT // I am a street photographer from Cologne who creates a noir atmosphere by capturing isolated people in the tangle of the metropolis, leading viewers into a world of light and shadow. I specialize in sauntering the streets, ever seeking for the decisive moment, compelling forms and enjoying ordinarities. I was proud as punch when my work was digitally showcased at no less than the Venice Biennale in 2019. Packed with creativity, I am currently delving into new portraiture looks. LOCATION Cologne GERMANY CAMERA Fujifilm X-E2 CATEGORY street WEBSITE https://rouvenkurz.com/ @ROUVENKURZ FEATURES // Framing Geometries
- B JANE LEVINE
I was raised in the suburbs of New Jersey, a short bus ride from New York City. I earned a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise my family. After leaving research, I took an interest in photography and began taking classes at ICP and other online platforms. I honed my skills through many photography trips all over the world. My photography spans several genres including street photography, landscape photography and long exposure cityscapes. Currently my focus is a series of candid portraits of strangers captured on the streets of New York City. The people in the photographs all possess a characteristic, gesture, or physical trait that I identify as parts of my own story. The series is a composite of pieces of her life – a self-portrait. B JANE LEVINE be inspired Gallery // ARTIST STATEMENT // I was raised in the suburbs of New Jersey, a short bus ride from New York City. I earned a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise my family. After leaving research, I took an interest in photography and began taking classes at ICP and other online platforms. I honed my skills through many photography trips all over the world. My photography spans several genres including street photography, landscape photography and long exposure cityscapes. Currently my focus is a series of candid portraits of strangers captured on the streets of New York City. The people in the photographs all possess a characteristic, gesture, or physical trait that I identify as parts of my own story. The series is a composite of pieces of her life – a self-portrait. LOCATION New York USA CAMERA Sony a9 and a7 CATEGORY street WEBSITE https://www.bjanelevinephotography.com/ @BJANELEVINE FEATURES // Nod of Recognition
- SOCIALLY DISTANCED
PICTORIAL STORY PICTORIAL STORY July 3, 2020 SOCIALLY DISTANCED BEING SOCIAL IN TIMES OF SOCIAL DISTANCING Photography by Stefan Hellweger Story by Karin Svadlenak Gomez Stefan Hellweger is a photographer from Munich with a mission: documenting life in his city. The Münchner Tafel is a Munich food bank that provides food to 20,000 low-income people every week. During the weeks of Covid-19 prevention measures, operations had to be adapted to the new requirements. It was during that time that Stefan set out to document what that means for the disadvantaged and the many volunteers at the Münchner Tafel. He recorded it in his photo series "Being social in times of social distancing". His photos are close-up and honest and tell a real story. The global Covid-19 pandemic has drastically changed how and when people interact with each other. This has had repercussions on the way life in cities is organised, and the way just about all institutions (businesses, hospitals, care homes, cultural institutions, charitable organizations, etc.) go about their business. It has also had a strong visual impact on the cityscape. Who would have thought a few months ago that face masks - in European cities previously reserved to Asian tourists - would become ubiquitous, or that we would do our exercise classes at home via online platforms? THE MUNICH FOOD BANK MÜNCHNER TAFEL In 2019 the Münchner Tafel had it's 25th anniversary. Stefan is a member of the Munich Street Collective, a group of currently 10 photographers, whose passion is documenting contemporary history in public spaces - to capture life in Munich as an artistic historic document for the future. Unlike many purely virtual collectives on Instagram, the members of this collective also organise street photography walks and occasionally analog exhibitions. One of their members had connections to the Münchner Tafel, and the collective came up with the idea of documenting the charity's important work. After months of shooting they organised a joint exhibition at Munich's art centre, Gasteig, which was very well received and much to the ten photographers' joy resulted in a significant increase of donations. So the current reportage is Stefan's second time to be involved in a documentary about the Münchner Tafel. Every Munich resident on welfare assistance can apply for an authorisation card to visit one of the 27 branches of the Münchner Tafel. The goal of the food bank is to make the lives of people living from social security a little bit easier by providing food. That way they can spend the little money they have for other purposes. For homeless people there are other organisations specialised in providing assistance. The Munich Food Bank usually has different delivery points around town, but because of the pandemic containment measures, all groceries were being distributed from the wholesale market in Sendling for several weeks. The volunteers and the guests of the Münchner Tafel now all have to keep a distance of at least two metres. “Unlike the supermarkets I shop at, this food bank was being checked for regulation compliance every day!”, says Stefan. “So they took this really seriously.” FROM OLD TO YOUNG The corona crisis has also completely changed the composition of the volunteer team: where previously it was mostly retired people who joined the effort to provide food for the needy, it was now mostly young people (freed up from their usual occupations by Corona). They would help set up the tables, carry boxes, clean up, hand out food, and sometimes lend an ear to one of the guests wanting to chat. For some of the people who visit the food bank, it is not only a way to get food, it is also a place where they can meet other people, where they can have a conversation without fear that they will be judged. Although all guests at the Münchner Tafel receive a minimum income from the German government, they still live below subsistence level. What this means is that after basic needs are met, they often have nothing left to enjoy a bit of entertainment - a movie maybe, or a visit to a coffee shop. Coming to the food bank helps fill that gap. © Stefan Hellweger Volunteers high fiving shortly before the guests arrive. © Stefan Hellweger A Tafel guest covering mouth and nose with a scarf. © Stefan Hellweger Axel Schweiger, head of the biggest branch of the Munich food bank. © Stefan Hellweger © Stefan Hellweger © Stefan Hellweger The Münchner Tafel is now returning to most of its 27 locations, except where, because of a lack of space or for other reasons, it is not possible to comply with strict corona regulations. Such locations will continue their food distribution at the western gate of the wholesale market. view Stefan's portfolio Read an interview with Stefan >>> Instagram >>> Münchner Tafel Munich Street Collective The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST In "Bifröst," Romain Coudrier masterfully captures Norway's timeless beauty, blending myth with modernity through black and white photography. A stunning exploration. MUD Dedipya Basak's documentary project explores an 800-year-old lake's struggle against global warming, highlighting its relevance and urgency in modern times. A WORLD WITHIN REACH In his Cuba project, Pedro Vidal celebrates human resilience and warmth through captivating imagery, revealing photography's profound ability to encapsulate emotions and memories. UNVEILING VULNERABILITY In a world where masculinity is often synonymous with stoicism and strength, Francesca Tiboni challenges us to reevaluate our perceptions of masculinity, inviting us to embrace the complexity of the male emotional experience. TRANSCENDENTS: SPIRIT MEDIUMS IN BURMA AND THAILAND Mariette Pathy Allen's visual narrative celebrates authenticity, spotlighting Spirit Mediums' enigmatic presence in both possession and daily life. She portrays them as essential to cultures steeped in Animism, reflecting the enduring essence of human authenticity. COALESCENCE Visual diptychs intricately depicting the intimate exchange between a mother and daughter, transcending personal narratives to explore universal themes of transition, acceptance, and the beauty of change. IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak Gomez not only paid homage to his timeless work but also embarked on a transformative journey. PARALELL REALITIES Through her lens, Catia Montagna explores the impact of socioeconomic factors and social norms on our daily lives, revealing the subtle poetry of small, insignificant moments that capture the ‘existential’ and the ephemeral, in the human condition. A TALE OF NATURE AND HERITAGE With her words and photographs, Ana-Maria Alb invites readers to join her on a journey through the breathtaking Carpathians. ON THE TRAIL OF LOVE LOST Through Sasha’s photo essay, we are given a glimpse into a beautiful love story and the unbreakable strength and resilience of the human spirit. Join us as we explore Sasha Ivanov’s heartfelt tribute to Lydia and Nikolai. SAHIB: THE FRANKINCENSE BOY France Leclerc’s documentary exploration embraces the community finding captivating stories for her visual translations. Her story takes us to the village of Poshina, where we meet Sahib. THEY HAVE GONE Lorenzo Vitali felt compelled to explore the landscapes of Eastern Veneto, to understand its emotional affective relationship and document it through his photography. I AM WATER Paola Ferrarotti explores her deep connection with the water and how it has transformed her understanding of life and herself. THE STRANDED PAKISTANIS Anwar Ehtesham captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of the lives of the Bihari people and their relationship with their environment. BLINDFOLD CHESS Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players.
- ALICIA HABER
I have traveled and even lived abroad mainly to Western Europe and the United States with grants, travel grants, and invitations form universities and cultural institutions as an Art Historian, researcher and curator. I am now a retired Art Historian and Curator of Contemporary Art (not photography). I have dedicated myself to photography as a passion/hobby since two years ago and currently that is my main activity. My intentions are most of the time to question the "realism" and "truth" of photography. Many times, I try to create photos that would stimulate the viewer to look more than once. I would like him/her to stop in front of the image and think what he/she is looking at. My goal is to problematize the gaze. I like to work with camera movement or the movement of the characters I am photographing, I am very attracted by reflections, sometimes I enjoy very much by the presence of shadows. Visual ambiguities are very appealing to me. ALICIA HABER be inspired Gallery // ARTIST STATEMENT // I have traveled and even lived abroad mainly to Western Europe and the United States with grants, travel grants, and invitations form universities and cultural institutions as an Art Historian, researcher and curator. I am now a retired Art Historian and Curator of Contemporary Art (not photography). I have dedicated myself to photography as a passion/hobby since two years ago and currently that is my main activity. My intentions are most of the time to question the "realism" and "truth" of photography. Many times, I try to create photos that would stimulate the viewer to look more than once. I would like him/her to stop in front of the image and think what he/she is looking at. My goal is to problematize the gaze. I like to work with camera movement or the movement of the characters I am photographing, I am very attracted by reflections, sometimes I enjoy very much by the presence of shadows. Visual ambiguities are very appealing to me. LOCATION Montevideo URAGUAY CAMERA Sony A6300 CATEGORY abstract, fine art, street WEBSITE https://aliciahaber.com/ @ALICIAHABER7103 @ALICIAHABER2 FEATURES // Visual Ambiguities
- THE RESURRECTION OF RUBINO
PICTORIAL STORY PICTORIAL STORY January 22, 2023 THE RESURRECTION OF RUBINO Photography by Aaron Rubino Story by Gary Nolan Introduction by Karen Ghostlaw Pomarico As photographers we often wonder what will happen to our archives after we are gone. Will our photographic journey continue? Or do our images die with us like our last thoughts when we take our final breath? For some, photography was their profession, besides a passion, taking thousands of images that one day will become the responsibility of someone else. The burden to archive and care for another photographer's negatives, while respecting their relationship to their camera and the connections they made through the lens. A daunting task for anyone. We have the great pleasure of highlighting a photographer's work that has been tucked away, and hiding in the shadows, being cared for by a friend. Recently they were offered to Gary Nolan. They trusted Gary to keep them safe, and shed some light on Aaron Rubino’s photography and respect the memory of his friend. Gary shares how he acquired this archive of Aaron Rubino, and what his thoughts have been while witnessing the visual stories that have been left now in his care. Gary raises many interesting questions, and has invested much time and thought addressing issues that as photographers we all will face, when we no longer see through the lens. After visiting my elderly friend Tom in San Francisco earlier this year, I returned home in possession of a large set of negatives (1700+) taken by Aaron Rubino, his deceased friend who had given him the film years earlier. The cache of negatives had recently escaped serious water damage from a pipe break and Tom, now considered a quadriplegic in the state of California and battling cancer, was starting to wonder what would happen to everything after he was gone. Since I had been involved in photography and imaging for most of my career, he insisted I take them. Rubino had been a photojournalist and had a freelance business in the city as well. Looking over the sparse notations scribbled on the negative sleeves, most of the photo shoots and sessions were from the period 1944-1949, with the majority dated 1944 or 1945. Subject matter was all over the map - group and PR shots, weddings, sports, entertainers, politicians, street scenes, some WWII related stuff, fashion, even a few ‘boudoir’ type images. My friend was not certain why he’d ended up with all the film, saying Rubino had no interest in any of it near the end of his life and just offered them up to Tom without much comment or reason. After looking through many of the negatives and scanning a few on my return to Ohio, I felt some of the images possessed an oddly interesting aesthetic. They also presented a weird tableau of the times and possibly had some historical interest. What I had not anticipated was feeling an odd affinity to the images, the photographer, and even the people in the photos. Even more, it started me questioning the nature of photos again and asking why these images, perhaps given their age, invoked some peculiar, different, and somewhat random thoughts. A PARALLEL UNIVERSE At first glance, the images somehow look a bit surreal and, at times, almost cartoonish. A few other people I showed them to had the same reaction - something like seeing a sci-fi film about a parallel world, one similar to ours on the surface yet ‘different’ in some fundamental, non-obvious way. Why? Is it simply because of the age of the images? Do photos have an expiration date or a half-life? Do they suddenly pass from being contemporary and recognizable before fading into some frozen diorama of antique irrelevance? People are still people and yet the props, the clothing, the state of technology all conspire to create some parallel world - something vaguely familiar but somehow quite distant and foreign from what we know. It is a curious phenomenon. An argument can be made, as Marshall McLuhan did in 1964, that the ‘medium is the message’. The reason these images influence us this way is dictated by the photography - the lack of color, the use of a hard on-camera flash, the peculiarities of the camera or lens, the technical limitations of the film, on and on. Since the ‘medium’ was less accessible to many back then, everything that survives and persists in our collective culture has a similar look and feel, caused solely by the distinctive images produced by the press cameras and flashbulbs of the day. Still, there’s more than just the medium embedded in those messages. Cultural norms are everywhere in the photos - dress fashions, hair styles, furnishings, decor, architecture. Signs of technology also creep in at every turn - automobiles, kitchen appliances, microphones, airplanes, sports equipment, cash registers, telephones, etc. Our visual landscape has shifted so radically that those things appear only vaguely familiar and seem more like museum oddities. Even the sometimes stilted posing and exaggerated expressions create a sense of simulated reality, adding to the already alien feeling running through the images. Other than a few subjects in the photos staring back and breaking the fifth wall, it is difficult to identify with any of it. I suppose if cell phone photos were as ubiquitous then as now, we would be having a completely different discussion about this, but unfortunately I think it is reasonable to say that nearly all images will suffer this same fate. As a corollary, I also think it’s inevitable that we may all look like cartoon characters in images viewed by future generations given the passage of enough time. About 75 years have passed since most of Rubino’s photos were captured and that number could be a defining line - about 2 generations - where technology and social norms shift so much that anyone viewing in the future may be more distracted by the differences and no longer see the similarities. If we add in the exponential growth of technology (Moore’s Law) and the accelerated rate of change caused by the web and social media, the defining line where the familiar passes some event horizon and out of existence could be compressed to a much shorter span of years. DEAD PEOPLE WALKING The other, perhaps obvious, observation is that most of the people in these images are now dead. All the muscular boxers, crowds on the street, women trying to look attractive, sailors, politicians, wedding-goers, businessmen, athletic teams - probably all gone. The more I scanned, the more I started getting concerned about that fact. Who were these people? How had their lives turned out? Did they have families? Had they been happy? Venturing down that philosophical road was, I realized, probably a one way journey, yet I felt a lot of expectant eyes staring back at me while I retouched and adjusted digital images. All the film had sat, somewhere, dormant for over 70 years since being viewed or printed - perhaps some of them had never been seen. Now they were back on the screen, being viewed by myself and a few others. It was as if I had poured water over these two dimensional pieces of celluloid and witnessed the reanimation of all these people - watching the smiles and the bright eyes coming back to life, realizing that those people are not a day older than they were in 1944 or 1945. In earlier times, Native Americans were wary about having their photographs taken, fearing the process stole part or all of their souls. Perhaps it sounds strange, but I considered that notion too for a time while working with these images, as if some unknown part of these people had now resurfaced, returning some of the essence of what was ‘taken’ from them in that original moment the photo was shot. They are physically gone, but this dancing chimera remains on screen, so what exactly is it that’s left? Do I now owe them some debt after waking them from their long slumber? As I said, this thinking is perhaps a one-way road, but nonetheless, there’s no doubt my efforts have rekindled some small slice of their existence. I’ve recently seen AI (artificial intelligence) programs that will bring old images ‘back to life’ by creating new animations from a still photo (one such tool is called ‘Deep Nostalgia’). Apparently, it does not take a great deal of data for a neural network to infer or interpolate varying new facial angles, expressions, etc. Clearly, what is ‘taken’ in an original photograph can be used to recreate a sum far greater than its parts, so perhaps I am not so far off in feeling as I do about all these now dead people in Rubino’s images. If this reanimation technology is only in its infancy, there’s no telling where it could end up in rendering or creating actual revived versions of people (think ahead 75 years). WHO CARES ANYWAY? Aside from a few byline photos from his time as a photojournalist, there seems to be little info available about Aaron Rubino (at least online) - no articles, no obituary, no real context. My friend Tom added little, saying only that he was a ‘crazy’ old guy living in an unhappy marriage - they had never even discussed photography. It’s not that I felt so curious, but it seemed possible I was holding the last, large chunk of this guy’s work. If I pitched everything, were the last remains of his life going too? Because all these pieces of film were now in my hands, did they confer some hidden contract of responsibility, even though I never knew the man? I can argue that some of Rubino’s photos are quite good, but a more objective or critical person might say most are mediocre at best. I would not necessarily argue with that assessment. There are plenty of mundane head shots, stereotypical wedding aisle snaps, and boring corporate PR images. Maybe it’s only some of the known names in the photos (Truman, Roosevelt, etc) or the historical venues pictured that lend some value to the images. And what about Rubino? Did he ever think he was shooting for posterity or creating art? I doubt it. I have a feeling it was mostly about the money for him, so again, why should I care where these end up? There is some interest in ’vernacular’ or found images these days, but they seem to favor the oddities of humanity or the fringes of human culture. Many of those images revel in the exceptions, the anomalies, and the peculiar. For just the opposite reasons, some of Rubino’s images feel more human and compelling - people are viewed at their jobs or doing what they enjoy with the photographer trying to show them in the best possible light. Isn’t that basically what we do most of the time anyway? His photographs show a range of life as it was, perhaps mundane, even average, but not the edge cases or the extremes that often get attention. Certainly there is something worth preserving because of that alone. Beyond revealing some of the zeitgeist of the era, the images, viewed now, also reinforce that rather trite, but not insignificant, idea of how relative and transitory everything and everyone around us is. Perhaps it’s only projection on my part, but I’ve always assumed most artists and photographers want their work to persist beyond their lives and somehow keep influencing the world from beyond the grave. Maybe Rubino understood something I have still failed to grasp - there is a time to let things go and perhaps that is what he did by giving them away. He knew the purpose behind the images and understood they had a short shelf-life. Still, I’m only guessing about his motivations and, in the end, feel an unease in making those final decisions for him, especially since some of his family pictures are intermingled. Perhaps it is something like unexpectedly ending up with a dead neighbor’s pet - you house it, feed it, and then either keep it or try to find it a good home. In the end, the images are not really ‘mine’ - I’m now just the caretaker and offer them up as such. "Dimond Palace, 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Fox West Coast Theater - Nob Hill Premier - Wed. June 13, 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Star Time, 1944" © Aaron Rubino (Captions from data written on negative sleeves.) "Market St Car Union, #1008 crowds on street cars from 5:30 to 6:10pm" - 1944 © Aaron Rubino (Captions from data written on negative sleeves.) "Von Morpingo, Dance Groop, April 1946" © Aaron Rubino (Captions from data written on negative sleeves.) "Ident Job, Steamship Co." - 1945 © Aaron Rubino (Captions from data written on negative sleeves.) "Prize Winning Football Pix, Sept 23, 1945, Calif vs St Marys" © Aaron Rubino (Captions from data written on negative sleeves.) "Mrs. Ute, 2771 30th Ave, Se 1-6072" - no date © Aaron Rubino (Captions from data written on negative sleeves.) "Roller Skating Gals at Bowling (Bagdad), Jun 21, 1946" © Aaron Rubino (Captions from data written on negative sleeves.) "Dewey in SF, Crowd shot, 1944, Print for Mr. Tobin & Cameron" - 1944 © Aaron Rubino (Captions from data written on negative sleeves.) "Eloise, 2nd sitting, 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Pauls Fountain, 542 Geary St" - 1944 © Aaron Rubino (Captions from data written on negative sleeves.) "Mrs. Greeley 54 Sonoma St. Sutter 1953 3.00 per neg 1.50 8x10 print matt -1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Boxing at St. Agnes Church Gym, Jan 18, 1949" © Aaron Rubino (Captions from data written on negative sleeves.) "Nassar Bros Theatres, Feb 22, 1947" © Aaron Rubino (Captions from data written on negative sleeves.) "44R 677-680 U.S.O - 70 Oak St. July 17, 1944" © Aaron Rubino (Captions from data written on negative sleeves.) "V.J. Day Idelle and Doctor Golden 1945" © Aaron Rubino (Captions from data written on negative sleeves.) "Rhoda, Oct 28, 1946" © Aaron Rubino (Captions from data written on negative sleeves.) The Pictorial List thanks Gary for bringing this story to us, giving us an opportunity to see a glimpse into the life of a photographer during this eclectic era in history. We respectfully honor Aaron Rubino’s work and his contribution to photography in his day. Gary has recently asked who may be interested in archiving these precious negatives of the past. They are a lovely depiction of life during a magical era in history in America, by a photographer that was committed to his work as a photojournalist, and freelance photographer documenting life as he saw it, through the lens. If interested, please contact us via email and we will pass it on to Gary. view Aaron's portfolio For more information please direct message Gary via Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST In "Bifröst," Romain Coudrier masterfully captures Norway's timeless beauty, blending myth with modernity through black and white photography. A stunning exploration. MUD Dedipya Basak's documentary project explores an 800-year-old lake's struggle against global warming, highlighting its relevance and urgency in modern times. A WORLD WITHIN REACH In his Cuba project, Pedro Vidal celebrates human resilience and warmth through captivating imagery, revealing photography's profound ability to encapsulate emotions and memories. UNVEILING VULNERABILITY In a world where masculinity is often synonymous with stoicism and strength, Francesca Tiboni challenges us to reevaluate our perceptions of masculinity, inviting us to embrace the complexity of the male emotional experience. TRANSCENDENTS: SPIRIT MEDIUMS IN BURMA AND THAILAND Mariette Pathy Allen's visual narrative celebrates authenticity, spotlighting Spirit Mediums' enigmatic presence in both possession and daily life. She portrays them as essential to cultures steeped in Animism, reflecting the enduring essence of human authenticity. COALESCENCE Visual diptychs intricately depicting the intimate exchange between a mother and daughter, transcending personal narratives to explore universal themes of transition, acceptance, and the beauty of change. IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak Gomez not only paid homage to his timeless work but also embarked on a transformative journey. PARALELL REALITIES Through her lens, Catia Montagna explores the impact of socioeconomic factors and social norms on our daily lives, revealing the subtle poetry of small, insignificant moments that capture the ‘existential’ and the ephemeral, in the human condition. A TALE OF NATURE AND HERITAGE With her words and photographs, Ana-Maria Alb invites readers to join her on a journey through the breathtaking Carpathians. ON THE TRAIL OF LOVE LOST Through Sasha’s photo essay, we are given a glimpse into a beautiful love story and the unbreakable strength and resilience of the human spirit. Join us as we explore Sasha Ivanov’s heartfelt tribute to Lydia and Nikolai. SAHIB: THE FRANKINCENSE BOY France Leclerc’s documentary exploration embraces the community finding captivating stories for her visual translations. Her story takes us to the village of Poshina, where we meet Sahib. THEY HAVE GONE Lorenzo Vitali felt compelled to explore the landscapes of Eastern Veneto, to understand its emotional affective relationship and document it through his photography. I AM WATER Paola Ferrarotti explores her deep connection with the water and how it has transformed her understanding of life and herself. THE STRANDED PAKISTANIS Anwar Ehtesham captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of the lives of the Bihari people and their relationship with their environment. BLINDFOLD CHESS Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players.
- THE WHIRLING DERVISHES OF KONYA
PICTORIAL STORY PICTORIAL STORY July 26, 2023 THE WHIRLING DERVISHES OF KONYA Photography and story by Rpnunyez Introduction by Melanie Meggs Rpnunyez, a man of science and an atheist, has been pushing boundaries with his photography, exploring the depths of human belief in the intangible. During 2017-2018, Rpnunyez made two trips to Iran, during which he was able to experience the legacy of Sufi poet and scholar Jalal-ud Din Mohammed (known as Mevlana) first-hand. Rpnunyez was working on his project ‘Persian Diaries’ (50 days on the “axis of evil”) at the time. According to Rpnunyez, who had many long conversations with the Iranians, Mevlana’s teachings are “like fresh air coming through the window of the room with unbreathable air that today’s Iran has become.” Since then, his most genuine followers, the ‘Whirling Dervishes of Konya’, have never ceased to be in Rpnunyez’s thoughts and served as the inspiration for Rpnunyez’s photography project. Through his photography, Rpnunyez is able to capture the pride and joy of the dervishes as they perform their ritual dance. His photographs display the connection between respect, tolerance and freedom on one hand, and force and aggression on the other. Rpnunyez says, “Asking questions and looking for answers has always been my approach to photography.” Rpnunyez hopes that through his work, people can gain a deeper understanding of the power of belief and how it affects our lives. He believes that everyone has a right to choose their own myth and to decide how intensely to follow it, as long as respect and tolerance are maintained. I am a man of science. With its immense advances, and despite its limitations, it never ceases to reveal to me the secrets of the universe. But the elusive secrets of the human being are something else. I am also an atheist, and I never cease to be surprised again and again by how myths and intangible beliefs are able to shape so intensely the lives of millions and millions of people worldwide. That capability of imagination and belief in the intangible is able to awaken the cruelest manifestations of wickedness or of developing all the good and beautiful that can be within us. I approached the world of the Dervishes with enormous curiosity and many questions in the air. Asking questions and looking for answers. They allowed me to enter their rich world eager to share it with others, and under a serious, even transcendent appearance, while I portrayed them or during the ecstatic moments of their ritual dance they never ceased to show their pride in being what they are. Unveiling their secrets, understanding their way of facing life, reaffirms my idea that every human being has the right to choose his or her own myth and the power to decide how intensely to follow it. Is there a limit to all this? Of course there is: the boundary between respect and intrusion, between tolerance and force or aggression - however slight - the boundary between freedom and coercion. The boundary, in short, between good and evil. MEVLANA For more than 800 years, Mevlana's remains have been resting in Sille Subaşı, a small Anatolian village near Konya. Until the Turkish-Greek population exchange agreements of 1923, a peaceful coexistence was shared between the small Greek community and the Ottoman Turks, with the former faithfully practising the Orthodox religion and speaking their own language. This was all thanks to the universal vision of Jalal-ud Din Mohammed (1207-1273) - also known as Mevlana (Our Master) or Rumi (of the Sultanate of Rum). An Islamic Sufi theologian, scholar and one of the greatest mystical poets of all time, he is the author of the Masnavi-ye Manavi; a masterpiece of universal mysticism which is, for many Sufis, the second most important work after the Qur'an. The Masnavi's greatness and longevity in time lies in its universality; allowing each of us, regardless of social condition, race or belief, to approach it like a mirror in which we can see the innermost corners of ourselves. Poetry, fable and metaphysical themes are entwined in its vast and complex tapestry; however, Mevlana is not simply a poet, storyteller or philosopher – he is first and foremost a master of the soul, an 'Insan Kamil', an Arabic term for the perfect human being. His legacy and teachings of tolerance and respect for others, regardless of their condition, are revered around the world as proof that it is possible for individuals and groups to focus on what unites them rather than what separates them. THE MEVLEVÍ Mustafá Holat, at the age of 76, is the revered spiritual master, or Dede, of a large group of whirling dervishes, including his own son, Huseyin. His father, his father's father, and countless generations before them all belonged to the Mevlevi, a Sufi order founded by Mevlana's followers and widely recognised throughout the Ottoman Empire. He was born during a tumultuous time when the order was banned after the proclamation of the secular Republic of Turkey in 1923 by Mustafa Kemal Atatürk and members were forced to practice their rituals secretly in their homes. In the 1960s, he was among the first to be initiated in the practice of Sema - ritual dance - in Konya. He received Mevlevi training from the great masters of the time and has since dedicated his life to passing down this knowledge to new generations, preserving the authenticity of the ritual. When the Turkish government realised the tourism potential of the whirling dervishes in the 1950s and relaxed the bans, Semazen (Mevlevi who practise the Sema) of all ages and conditions began to practise the ritual once more, now seen by tens of thousands of tourists every year. This presents a double dilemma for the Mevlevi community: private practice or mass spectacle, mystical experience or professionalisation. Ismail Fenter, 67 and Semazen at the Mevlana International Foundation, believes that the essence of Sema should remain strictly intimate and private and that no one should practise it for any reason other than to connect with the divine. Osman Sariyer, 33 and Semazen at the Irfan Civilisation Research and Community Centre, however, takes a different approach. He insists that “The Sema is not a dance performance, it is, in a certain sense, the essence of Mevlana's teachings; it is the direct connection with God.” He argues that, “being a Mevlevi involves great responsibilities; we must follow in Mevlana's footsteps by being more understanding, tolerant and helpful to others. Being Mevlevi radically affects our lives and never affects us if others witness our rituals because, according to our belief, they also receive Allah's reward for being with those who do good.” Regardless of their differing views, both Ismail and Osman continue to whirl in adherence to Mevlana's teachings – in private or in public – to the sound of the reed flute. THE WHIRLING DERVISHES Legend has it that strolling through a Seljuk bazaar in Konya, Mevlana began to whirl when he heard the musical metallic sound of the hammering of the bazaar's goldsmiths. That was the beginning of it all, Mevlana passionately believed in the use of music, dance and poetry as a means of seeking God and in the opening lines of the Masnavi he says: ‘Listen to the reed flute, how it wails as it tells a tale of estrangement and separation saying: since I was separated from the reed bed my lament has made man and woman moan. This lament is fire, it is not wind, whoever doesn’t have this fire, let it be nothing! It is the fire of Love.” Seven centuries later, the soft sound of a flute, called ney, initiates every Sema ritual. From it comes the “Hu” which symbolises the insufflation of the divine breath into the human being. From there, there is no sound, colour, movement, gesture, exclamation or attire that doesn’t have its own symbolism. The frustoconical headdress, called “sikke”, symbolises the spiritual independence of the dervish. The long white robe, called tennure, that protects the dervish from the worldly fire. The black cloak, called hirka, symbolises their ego, which they take off before starting their turns. The position of the hands during the turns, one towards the sky to receive the divine breath, the other towards the ground to transmit it to the world. At the beginning (and at the end) of the ritual, a group of dervishes in the presence of their spiritual master, seem to be nothing more than a group of believers gathered for a common interest. But at the climax of the ritual: White robes unfolded by the centripetal forces of the spinning, arms unfolded, heads tilted back, eyes closed in maximum concentration or half-open in ecstatic expression, the whisper of feet spinning on the ground, the soft wind arising from the robes like circular butterfly wings. It is all hypnotic, beautiful, electrifying. Without a solution of continuity, it seems that the feeling of community has disappeared and each one of them floats, in direct connection with the divine, in an individual and transcendent universe. In those moments, especially in those moments, the whirling dervishes, the Semazen, represent the quintessence of Sufism seven centuries after Mevlana left his legacy, declared by UNESCO as Intangible Cultural Heritage of Humanity. © Rpnunyez. "Yakup Inam in full ecstasy during the central phase of the Sema. There is a way of breathing that is shameful and suffocating and there is another way to breathe, a breathing of love, that allows you to open yourself infinitely." © Rpnunyez. "Beauty surrounds us, but we usually need to walk in a garden to discover it." © Rpnunyez. "Whirling dervishes initiating a Sema session under the supervision of the head dervish "Basl". You were born with wings. Why do you prefer to crawl through life?" © Rpnunyez. Mustapha Holat, 76 years old. Dede. "Ignorance is the prison of God. Wisdom is the palace of God." © Rpnunyez. Muhammed Berk, 8 years old. Student. "Become a living poetry." © Rpnunyez. "A secret freedom opens through a crack that can barely be seen." © Rpnunyez. "God moves you from one feeling to another and teaches you through opposites so you have two wings to fly, not one." © Rpnunyez. Yussuf Mevlevi, 16 years old. Student. "Your task is not to seek love, but to seek and find the barriers within yourself that you have built against it." © Rpnunyez. Yussuf Mevleví during a Sema session. The pain we embrace becomes joy. Take it into your arms where it can change." © Rpnunyez. Ali Kaya, 28 years old. Social media expert. "Your legs will become heavy and tired. Then will come a time when you feel the wings you have created." © Rpnunyez. Huseyin Sitki Holat, 52 years old. Basl whirling dervish. "Take care of what you really value and let the thief take the rest." © Rpnunyez. Huseyin Sitki Holat during a Sema session. Is it not time to turn your heart around a temple of fire?" © Rpnunyez. Ozhan Gultepe, 42 years old. Jeweler. "Lovers cannot be found anywhere. They find each other all the time." © Rpnunyez. Hakan Gultepe, 40 years old. Whirling Dervish. "Irrigate the fruit trees not the thorns." © Rpnunyez. Safa Kucukkomurler, 25 years old. Electronic engineer. "Only from the heart can you touch the sky." © Rpnunyez. "Safa Kucukkomurler during a Sema session. Don't turn around. Keep your eyes on the window. That's where the light comes in." © Rpnunyez. Toprak Efe Kilich, 14 years old. Student. "If you could extend your wings and free your soul from jealousy, you and everyone around you would fly high like doves." © Rpnunyez. Toprak Efe Kilic and his father Omer Kilic. © Rpnunyez. Mehmet Enes Bagci, 37 years old. Photographer. "Raise your words, not your voice. It is rain that makes flowers grow, not thunder." © Rpnunyez. Ali Sems, 52 years old. Art Educator. Yesterday I was intelligent, so I wanted to change the world. Today I am wise, so I want to change myself." © Rpnunyez. "Osman Sariyer during a private Sema session. Dance in the middle of the fight. Dance in your blood. Dance when you are completely free." © Rpnunyez. Group of whirling dervishes in the central phase of the Sema. In the foreground Omer Kilic in full ecstasy. Become the sky. Use an axe against the wall of the prison. Escape." Through Rpnunyez's photography project, we have been able to experience the spiritual and human connection between belief, respect, tolerance, and freedom. His work has pushed the boundaries of what is possible in photography and has allowed us to gain insight into the power of belief. We can take from this project that everyone should have the right to choose their own myth and to decide how intensely to follow it, as long as mutual respect and tolerance are maintained. Let us all learn from this project and strive to live by these principles in our everyday lives. view Rpnunyez's portfolio Read an interview with Rpnunyez >>> Read the story "Abyssinian Diaries" >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. 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She portrays them as essential to cultures steeped in Animism, reflecting the enduring essence of human authenticity. COALESCENCE Visual diptychs intricately depicting the intimate exchange between a mother and daughter, transcending personal narratives to explore universal themes of transition, acceptance, and the beauty of change. IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak Gomez not only paid homage to his timeless work but also embarked on a transformative journey. PARALELL REALITIES Through her lens, Catia Montagna explores the impact of socioeconomic factors and social norms on our daily lives, revealing the subtle poetry of small, insignificant moments that capture the ‘existential’ and the ephemeral, in the human condition. A TALE OF NATURE AND HERITAGE With her words and photographs, Ana-Maria Alb invites readers to join her on a journey through the breathtaking Carpathians. 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THE STRANDED PAKISTANIS Anwar Ehtesham captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of the lives of the Bihari people and their relationship with their environment. BLINDFOLD CHESS Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players.
- STREETMAX 21
INTERVIEW INTERVIEW June 14, 2021 STREET CHOREOGRAPHY Photography by Streetmax 21 Interview by Melanie Meggs As we live in a world that is becoming increasingly designed and governed by rules, it can often feel like the individual is an automaton within the system. The streets are filled with people, all seemingly going through the motions of their lives without much thought or emotion. Streetmax 21, a renowned street photographer, uses his lens to capture the beauty of this seemingly mundane world in his candid shots. He observes how our present circumstances govern our behavior individually and in crowds, and has captured scenes that beg the question – are we self-absorbed passersby uncannily playing out parts in isolation, or have we been conditioned to act in a certain way? His photographs are often taken in a half light with a muted colour palette, creating an atmosphere that speaks to our current state of affairs. But while at first glance there may seem something sad about these corporate scenes, Streetmax 21's intention is to transcend the mundane and make comical comment on our environment. Through his photographs, we can gain a unique perspective on how our circumstances shape our behavior. “I think it’s imperative to be aware of trends impacting upon the human condition and to have a ready means of translating or alluding to these aesthetically. For example, It’s become very obvious today that technology has caused behavioural change in both overt and subtle ways. It connects us, but it has been instrumental also in disconnecting many from real society. I’m conscious of letting these polarities inform the images I make.” IN CONVERSATION WITH STREETMAX 21 THE PICTORIAL LIST: Streetmax please tell us about yourself. How did you become interested in photography? STREETMAX 21: I was born in Dundee, Scotland. I shuttle between London, where I’ve spent most of my adult life, and Norfolk, where I live now. I became interested in photography by degrees, at first using it as a means to assist in painting which I studied at art college. I’ve taken photographs ever since, working professionally for a while as an architectural photographer. My foray into street photography came about almost accidentally as a sideline to the large format architecture I was shooting for clients. I began to realise slowly that it was something I could do on my own terms. TPL: Where do you find inspiration to photograph? SM21: It’s difficult to pinpoint where I find inspiration but I like to think about what it is I’m trying to do. I’ll have several ideas fructifying at any one time, most of which I’ll later discard. The important thing is to find something that works on a multiplicity of levels. In a world awash with imagery, it’s necessary to strike up a signature style and augment it with relevant and recognizable add-ons. TPL: What do you want to express through your photography? What are some of the elements you always try to include in your photographs? SM21: I think it’s imperative to be aware of trends impacting upon the human condition and to have a ready means of translating or alluding to these aesthetically. For example, It’s become very obvious today that technology has caused behavioural change in both overt and subtle ways. It connects us, but it has been instrumental also in disconnecting many from real society. I’m conscious of letting these polarities inform the images I make. Although I predominantly photograph figures, both minimalism and conceptualism are forms which I have in mind always although I don’t necessarily work with their rigour. Photographic layering is less important to me than layers of meaning. The meaning of separated figures as a metaphor arises. Do they play with shifts in meaning yet evoke different analogies? Would it have been possible to make this work in another era? I don’t have answers, only questions made manifest by enigmatic imagery. TPL: 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? SM21: I try to use techniques that ensure I don’t draw too much attention to myself when shooting. For instance, on taking up a position, I often shoot from just below eye-level at chin height, lowering my eye to the viewfinder periodically to check the framing. This enables me not only to better see what’s about to enter the frame by looking over the camera, but gives the impression that I’m not shooting at all, merely considering it. Bar the occasional passer-by who’ll enquire about the camera I’m using, I don’t get much response either way. 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? SM21: Very occasionally images come to me but usually I adopt a watch and wait approach. I keep a number of locations in mind that I can return to when conditions are right. Some, I’ll visit several times. I’m looking for rhythm in moving figures and to have them separated visually within plastic space. Even though I’m working in a real environment, shooting figures in this way can give them an unreal look. It’s this kind of dichotomy that I find interesting. I photograph people because they’re more interesting than ideas, and I see figuration as a casing or a vehicular language capable of externalising concepts. I photograph people because they’re more interesting than ideas, and I see figuration as a casing or a vehicular language capable of externalising concepts. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? SM21: My visual cues derive from a variety of media, mainly painting. Favourites here would be Nicolas Poussin, Holbein drawings, Ingres drawings, Eadweard Muybridge, Futurists, Photo-realists including Howard Kanovitz, Conceptualists Opalka, Darboven, Kawara and LeWitt. I like the idea of continuity in art - one artist/photographer laying the groundwork for another to follow and reinterpret. The best example of this was the British post-war sculpture movement, the most authentic to come out of London in recent times. In photography, being able to use light like Ray Metzker and having an eye for colour like Fred Herzog are things I aspire to. That said, I prefer to perceive what may be relevant artistically/photographically without looking too closely at the work of other artists/photographers. It’s enough to be aware of the cannon so as not to commit the sin of repeating it. 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? SM21: I work with Fuji x-series cameras with 35mm equivalent lenses. I use a Nikon with wide angle lenses also. The only attachment I have is a spirit level mounted on the shoe - useful if I want to shoot from the hip or when I can’t see the on-board camera spirit level. Depth of field is always a concern for me given the complexity of what I’m attempting to photograph. In changeable London weather conditions, x-series cameras are pretty good when it's sunny, but at wider apertures they can soften badly at the image edge. TPL: Do you have a favourite place to go photograph? SM21: The bulk of my street photography has been done in London and particularly the City of London, often referred to as “The Square Mile”. I lived on the fringe of the City for over a decade and it became my photographic playground. Few live in it and it’s often deserted at weekends. The richest borough in the world surrounded by some of the poorest boroughs in Europe is a place like no other. I’ve referred before to it’s robotic formality, which I find compelling. It’s forever in an amoeba-like state of renewal. As well as the Portland Stone and metal clad corporate environment, I often photograph figures amidst the graphic devices of scaffolding and temporary hoardings as a nod to this continual regeneration. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? SM21: I aim for consistency and continuity. It’s very difficult to do good work. If it weren’t, people would do it all the time. I’m trying to attain and maintain a strength, quality and intelligence that I seek in the work of others. Who can say where one will be in five years? I would hope that the basic concepts I’ve put in place serve to further enhance the impact of the street photography strategy I’ve embarked upon. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SM21: I’m toying with the idea of authoring some past and future work under another ‘nom de guerre’ - someone influenced by Streetmax 21 and street photography but who makes other work in a variety of media. TPL: When I am not out photographing, I (like to)… SM21: Feel secure in the knowledge that I have the two most important things a photographer needs in life; a good mattress and a good pair of shoes. If I’m not in one, I’m in the other. Streetmax photographs the built environment, static and inanimate, the stage upon which a walking choreography is played out. Thank you Streetmax for sharing your inspiring insights and photography. Connect with Streetmax through the links below. VIEW MAX'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. 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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.
- THIS IS ESSEX
PICTORIAL STORY PICTORIAL STORY June 25, 2021 THIS IS ESSEX Photography and story by Danny Jackson Introduction by Karin Svadlenak Gomez Danny Jackson has captured the sometimes weird and often wonderful everyday lives of residents in Essex in pictures. As a passionate people watcher, in 2019 Danny started working on a portrait series called 'Eccentric Essex'. The Pandemic has given him the opportunity to go through his work, which in turn has led to the development of the series 'This Is Essex', and 'Eccentricity'. Both of these series focus on eccentric and interesting people. Why Eccentrics? Danny has asked himself that question quite a lot, and his main reasoning is that eccentric people seem to live life somewhat differently from the norm, they rebel or let their interests and passions determine how they live their lives. When I was a child growing up in Basildon, a new town in South Essex, in the 80s and 90s, I became aware of a growing stigma attached to my county. The expression 'Essex Girl' had recently found purchase in modern lingo; a derogatory term that was used to describe women who were considered promiscuous or lacking in intellect. It was a stereotype that was compounded by the television programme ‘Birds of a Feather’ with its own archetypal Sharon and Tracy; vacuous characters who bumbled through each episode with dropped Hs and glottal stops galore. The Essex boys fared little better. They found their representative in Harry Enfield’s creation 'Loadsa Money.' Enfield’s depiction of a brash, up and coming man with oodles of money and no accompanying substance or class was a clear comment on the generation of young Essex men who had found lucrative jobs in the nearby city of London. And so it went on…Big Brother, Pop Stars, X factor and more recently TOWIE. Any contestant that hailed from the county of Essex inevitably conformed to the classic stereotypes of the pretty but vapid Essex Girl and the materialistic and loutish Essex Boy. Modern culture has been saturated with the media’s propagation of this unkind and unfair stereotype, but if we look a little deeper then maybe we will find that there’s more to the Essex species than these narrow and restrictive generalisations acknowledge. Essex, as we know it now, has evolved and expanded over the duration of the last hundred years; a relatively short time. Before then it was mostly small farming communities and Victorian seaside towns. But after the Second World War and the devastation of London’s East End, the Labour government created a series of “new towns” across the country and Essex was the birthplace of two such towns: Harlow in North Essex and Basildon in the south. These new towns offered hope and fresh starts to a bruised and beleaguered generation of Eastenders. Massive council estates sprung up, the largest in Europe being one in Dagenham, and many Londoners flocked to Essex to join friends and relatives who had already settled here. Both sets of my grandparents originated from East London, as are my wife’s, and this is the same for the large majority of my friends too. So, to understand the nature of the people of Essex, we must first start with their forebears, the Eastenders. Just as Essex has a stereotype, so too have the people of East London. Ask any one from around the world what a cockney or an Eastender is like and a list of attributes common to this Londoner will be reeled off: speakers of Cockney rhyming slang; consumers of jellied eels and pie and mash; images of The Artful Dodger, Dickens’s famous pickpocket from 'Oliver Twist', or the Kray twins (gangsters of 50s and 60s London) spring to mind. But just as the Essex stereotype is narrow and reductive, so too is this one. It’s important to remember what happened to the East End of London during the Second World War; German planes bombed the area relentlessly during “The Blitz” of 1940. Thousands of homes were bombed out and lives lost. Parents had to evacuate their children to the countryside to live with unknown families. My nan was one of those children, who with her two sisters, was sent to Norfolk and spent the war living with a farmer and his wife. The phrase “Keep Calm and Carry On” can be said to embody the attitude of the nation as a whole, but it seems particularly pertinent to the East End. I believe that going through such hardship and embracing the ‘war-time spirit’ solidified in them those attributes of resilience, determination and kind heartedness and highlighted the importance of family and fun, even in the face of adversity. When broken down, what really is the idea of a ‘wartime spirit’? It’s a commitment to carry on no matter what; a conscious stance of thinking positively when times are hard; to move on and to move forward. So who are the people of Essex now? Essex has a population of about 1.9 million. It borders Suffolk, Cambridgeshire, Hertfordshire, London and Kent. During the census a few years back Castle point in South Essex had the highest percentage in England of people identifying their ethnicity as ‘White British.’ Essex also has a very high percentage of over 65s, much higher than the national average. Much of the densely populated towns are on the coast where many older people go to retire; seaside towns like Southend on Sea and Clacton on Sea being a mix of young families and older residents. Leigh on Sea was recently voted the best place to live in England, with large 1930s family homes close to a classic British high Street and an old fishing village. Many Essex residents are tradesman or office workers who commute up to the City daily via the motorways or railway. And as for that perception of the people of Essex as being less academic; the University of Essex ranked 25th out of 130 in the most recent University League Table. Regardless of where you are in Essex, there are some common strains that seem cemented in the Essex persona like the letters in a stick of rock: the people of Essex have a friendly, warm nature - if workmen enter their home they will immediately be offered cups of tea, and at the end of the job a tip or drink will be given as a thank you; “Get yourself a beer,” they might say. Essex people love a bargain, with a glut of Pound Shops punctuating most high streets and Sunday mornings frequently being spent rifling through the goods at local car boot sales. The people of Essex are: fun loving, neighbourly, sometimes eccentric, cheeky, money driven and confident. They can also drink far too much, burn in the sun far too easily, love a bit of gossip, are occasionally rowdy and sometimes vain. They love their fish and chips and English breakfasts, shop at Lakeside Shopping Centre and in the evenings many flock to Southend amusements or “Peter Pans,’ a theme park by the pier that’s been called Adventure Island for over 20 years but everyone still calls “Peter Pan’s Playground’. The V-festival is a yearly event where some of the biggest names in the music business come to play and for thousands across Essex this a must see event of the summer. Another place that every Essex resident is familiar with is Southend Pier, the longest pleasure pier in the world at 1.34 miles long. Built in 1830, this pier is very much part of Essex’s heritage, in fact to quote Sir John Betjeman (the English Poet and broadcaster), “The pier is Southend, Southend is the Pier.’ © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson © Danny Jackson So in conclusion, when describing this collection of people…my people… it is clear that the people of Essex have a quirkiness to them, an eccentricity, a cheekiness. They have their own language - a mix of slang and colloquialisms - and they have certain habits that counts them apart from other people, much of this coming from their cockney ancestors. Their warmth and friendliness, family orientated attitude and gritty determinism have resulted in a can-do attitude and work hardy strength that comes from generations of tradesmen, dockworkers and factory workers. As a people they are strong, loyal and neighbourly. This is all a far cry from the crass ‘Essex Lad’ or the promiscuous and unintelligent ‘Essex girls,’ in fact quite the opposite. Maybe in time the idea of who the people of Essex actually are will change and develop and we will finally be allowed to transgress these reductive and disparaging stereotypes, however whatever happens I’m happy to be one of them and I’m proud to be able to photograph them and document the county I love. view Danny's portfolio Read an interview with Danny >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>> ISLAND Enzo Crispino’s photographic series, “Nêsos,” invites viewers into an introspective journey that mirrors the artist’s rediscovery of his voice in photography after a prolonged period of creative estrangement. BEYOND THE BRICKS Amid Bangladesh’s dynamic urban growth, Anwar Ehtesham’s photography takes us beyond statistics and headlines, revealing the hidden lives of the laborers working tirelessly in the nation’s brick kilns. OAXACA In Oaxaca, Tommaso Stefanori captures Día de los Muertos, exploring the convergence of life and death, human connections, and enduring cultural rituals through evocative photographs of tradition and emotion. BEHIND THE PLANTS Wayan Barre documents Cancer Alley residents facing pollution and economic challenges, shedding light on their resilience and the impacts of environmental injustice. THE RED POPPY AND THE SUN By blending archival and contemporary images, Mei Seva creates a visual story that captures the ongoing struggles and moments of triumph for those impacted by displacement and circumstance. FIRE AND FORGE Alexandros Zilos delves deep into the harsh reality of sulfur mining, while also capturing the allure of the blue fire phenomenon created by sulfur deposits in the crater. IN-VISIBLE PAIN Through black and white self-portraiture, Isabelle brings to light the stark reality of living with chronic pain — a reality often dismissed by a world that requires physical evidence to believe in one’s suffering. CELEBRATION OF LIFE Ahsanul Haque Fahim's photography captures Holi in Bangladesh, celebrating life with vibrant colors and reflecting human emotions, diversity, and interconnectedness in Dhaka's streets. KOALA COUNTRY Sean Paris invites viewers on a transformative journey, challenging our perceptions and fostering a new appreciation for rural Australia through mesmerizing infrared photography. MOMMIE Arlene Gottfried’s poignant exploration of motherhood in “Mommie” is not just a collection of photographs but a profound tribute to the enduring bonds of family and the universal experiences of love, loss, and resilience. BIFRÖST In "Bifröst," Romain Coudrier masterfully captures Norway's timeless beauty, blending myth with modernity through black and white photography. A stunning exploration. MUD Dedipya Basak's documentary project explores an 800-year-old lake's struggle against global warming, highlighting its relevance and urgency in modern times. A WORLD WITHIN REACH In his Cuba project, Pedro Vidal celebrates human resilience and warmth through captivating imagery, revealing photography's profound ability to encapsulate emotions and memories. UNVEILING VULNERABILITY In a world where masculinity is often synonymous with stoicism and strength, Francesca Tiboni challenges us to reevaluate our perceptions of masculinity, inviting us to embrace the complexity of the male emotional experience. TRANSCENDENTS: SPIRIT MEDIUMS IN BURMA AND THAILAND Mariette Pathy Allen's visual narrative celebrates authenticity, spotlighting Spirit Mediums' enigmatic presence in both possession and daily life. She portrays them as essential to cultures steeped in Animism, reflecting the enduring essence of human authenticity. COALESCENCE Visual diptychs intricately depicting the intimate exchange between a mother and daughter, transcending personal narratives to explore universal themes of transition, acceptance, and the beauty of change. IN THE FOOTSTEPS OF ANSEL ADAMS In following the footsteps of the masterful Ansel Adams, Karin Svadlenak Gomez not only paid homage to his timeless work but also embarked on a transformative journey. PARALELL REALITIES Through her lens, Catia Montagna explores the impact of socioeconomic factors and social norms on our daily lives, revealing the subtle poetry of small, insignificant moments that capture the ‘existential’ and the ephemeral, in the human condition. A TALE OF NATURE AND HERITAGE With her words and photographs, Ana-Maria Alb invites readers to join her on a journey through the breathtaking Carpathians. ON THE TRAIL OF LOVE LOST Through Sasha’s photo essay, we are given a glimpse into a beautiful love story and the unbreakable strength and resilience of the human spirit. Join us as we explore Sasha Ivanov’s heartfelt tribute to Lydia and Nikolai. SAHIB: THE FRANKINCENSE BOY France Leclerc’s documentary exploration embraces the community finding captivating stories for her visual translations. Her story takes us to the village of Poshina, where we meet Sahib. THEY HAVE GONE Lorenzo Vitali felt compelled to explore the landscapes of Eastern Veneto, to understand its emotional affective relationship and document it through his photography. I AM WATER Paola Ferrarotti explores her deep connection with the water and how it has transformed her understanding of life and herself. THE STRANDED PAKISTANIS Anwar Ehtesham captures the beauty of human emotion in all its rawest forms in the face of adversity and offers an insight into the complexity of the lives of the Bihari people and their relationship with their environment. BLINDFOLD CHESS Anastasiya Pentyukhina’s documentation of blindfolded chess provides an insight into this often overlooked world of sports, and sheds light on the unique challenges faced by visually impaired players.
- EMIR SEVIM
INTERVIEW INTERVIEW January 28, 2022 FINDING THE MAGIC OF ISTANBUL Photography by Emir Sevim Interview by Melanie Meggs Istanbul is a place like no other, and it is through the eyes of its people that we see its beauty. One of those people is Emir Sevim, an Istanbul native and street photographer whose passion for his city shines through his work. Emir was born and raised in Istanbul, and it was during his university studies that he realized his love for photography. After taking a class in photography, he found himself inspired to explore the streets of Istanbul, and to capture its beauty in ways that only a local could see. Through his lens, he has been able to find the unique details and comparisons that come together to create the magic of Istanbul. In his six years as a street photographer, Emir has developed a unique style of photography that is infused with the energy and rhythm of his city. He captures the essence of Istanbul, creating images full of vibrancy and movement. As any native to a city knows, there is something special about being born in a place – something that cannot be captured by a casual observer. It is in this spirit that Emir captures his city, finding beauty and purpose in its inhabitants and its streets. Emir finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks Emir’s World. His images are a testament to its beauty and its brilliance, a reminder of the unique beat that rocks its streets. “Street photography is my passion. When I go out and take photos, I forget all my other troubles and surrender myself to the flow of the street, to the spirit of the street. Every photograph I take carries pieces of what I watch, read, people's feelings, movements, the rhythm, texture and spirit of the street. I am very lucky to live in Istanbul and take street photos. I hadn't noticed that Istanbul is such a magical city before I took my first photo. When I started to taking pictures, it was while I was getting lost in the streets, I realised how perfect this city really is.” IN CONVERSATION WITH EMIR SEVIM THE PICTORIAL LIST: Emir please tell us about yourself. How did you become interested in photography? EMIR SEVIM: I was born, grew up and live in Istanbul. My interest in photography started during my university years. While I was studying Sinem-TV department in 2011, we had a photography class. I took a camera and started taking photos. It was 5-6 years ago that I started taking street photography. TPL: When you are out photographing - how much of it is instinctual versus planned? ES: I don't make any plans while taking photos. In my understanding of street photography, photography should be natural. When I take a photo, I capture that moment and enjoy it. TPL: What are some tips or advice you would give yourself if you started street photography all over again? ES: I would have liked to have started my photography by taking street photos earlier on. I'm not too late, but sooner would be have been nice. Frankly, I wouldn't give any advice because I'm constantly taking photos and working hard on this. TPL: Do you have any favourite artists and photographers? ES: Lee Friedlander, Henri Cartier-Bresson, Alex Webb, Vivian Maier, Nikos Economopoulos, Josef Koudelka, Raymond Depardon, Bruce Davidson, Joel Meyerowitz. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? ES: I would choose Alex Webb. Because he has an amazing street photography book about my favorite photographer and the city I live in, Istanbul. It would be perfect to take photos with him on the streets of Istanbul. When I take a photo, I capture that moment and enjoy it. 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? ES: I love the equipment I use. Small, practical and fast. It makes my job on the street a lot easier and gives very good results. I don't think you need huge equipment. It is the photographer who takes the photo, not the camera. My equipment is the Fujifilm XT30 18mm f2. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? ES: As a photographer, of course, my goals are to produce something permanent. Making exhibitions, publishing books. I think the best thing a photographer can do is make a photo book. I am working every day to achieve these goals in the coming years. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? ES: There are several photo series I am currently working on. Those who are curious can see them on my website. I have an idea to make an exhibition or a book about these series in the future. TPL: "When I am not out photographing, I (like to)… ES: I like spending time with my family, traveling, watching movies, reading books." The story of Emir Sevim is a testament to the beauty and magic of Istanbul. Through his work, he has been able to capture the unique details and energy that make it so special. His photographs are a reminder that beauty is found in the everyday, and that there are people who love their city deeply and can share its unique beat with the world. Let’s all join Emir in his quest to capture the magic of our cities. VIEW EMIR'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. 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.
- PAUL KESSEL
INTERVIEW INTERVIEW September 14, 2020 HAUPTBAHNOF Photography by Paul Kessel Interview by Melanie Meggs As we navigate through the chaos of everyday life, it's easy to become consumed by the hustle and bustle of our surroundings. Yet, despite all this distraction, there are those who can still find beauty in the noise. Paul Kessel is one of those people. A street photographer from New York City, Paul has been capturing candid moments around the world for over thirteen years. With a background in clinical psychology, psychoanalysis and university teaching, Paul began his journey into photography just before his 70th birthday, enrolling in classes at The International Center of Photography. Now thirteen years later, the street photographer from New York City has won a number of awards, had his work exhibited in over eighty group showings, and has had four solo shows. Paul's style has evolved from candid portraits of people to capturing candid street scenes in motion. He compares his passion for street photography to playing a sport - “usually requiring a warm-up period, then some momentum is established, until finally a good shot is captured amongst many forgettable ones.” Due to the pandemic, Paul's days of shooting on the streets have been put on hold for now. To satisfy his 'itchy shooting finger', he has done a self-portrait project at home. However, he is eagerly waiting to get back out shooting once more. In this interview we will be exploring Paul's photography series 'Hauptbahnhof' about the main train station in Frankfurt, Germany. This train station is a major hub for travel in Europe, and Paul has spent a lot of time there and created some personally meaningful photographs. All his photographs are candid, each telling a story, isolating his subject among the chaos of the main train station. Come join Paul on this journey as we explore the beauty of capturing moments in motion. “Over the past fifty years, I have been to Frankfurt Germany almost yearly and I also lived in the city for two years. Of course, over all of that time, many life events occurred including highly emotional ones, particularly divorce and child custody issues. Countless times, I have passed through the main train station. It is called 'Hauptbahnof'. After I began candid street photography, about eight years ago, I became more aware of light and this venue has an interesting skylight. Because of that, I went there to photograph. I had no project in mind beyond photographing people that interested me and doing it fairly close up. Eventually, I had enough photos to think of it as a project.” IN CONVERSATION WITH PAUL KESSEL THE PICTORIAL LIST: Paul, what drew you to photography or is it something that you were always interested in? PAUL KESSEL: I always owned a camera and had a latent interest in photography. However, it was put away in a drawer almost all of the time. There were relatively infrequent periods of photographing until I decided to pursue it seriously in 2008. The primary reason I began, is that my daughter started a career in photography at age 23. Her mother had an MFA degree in video and prior to her video interest, she studied photography in college and photographed my daughter a lot. My daughter eventually became a prop stylist and frequently works with photographers. TPL: You mentioned to us that you photograph unnoticed. How did you do go about achieving this? PK: My camera has a flip down back screen, and I looked down at it after I spotted a potential subject walking through or standing in decent light. I pretended I was fiddling with the camera. TPL: Is there anything you want to express through your photography? And what are some of the elements you always try to include in your photographs? PK: The aesthetics of light and composition coupled with a lifetime fascination of people and how they present themselves is sufficient. In more recent years, I have become more interested in how the photograph will look than the people in the photograph. Occasionally, a social issue may be part of what I am trying to express. TPL: What has been the best advice/criticism you have ever received...that you have learned from? PK: 1. Appreciate the friendships derived from photography and don’t be so hard on myself regarding outcome. 2. Fifty really good pictures in a lifetime is success. I am inspired by my enjoyment of the process, the quest for the elusive photograph, the sense of belonging to a community of street photographers, friendships with others pursuing the same goals as myself, and probably the hope of making enough good pictures to have a published book. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? PK: There are many photographers whom I admire. This includes those in the history of photography, teachers, and contemporaries. I will not attempt to mention them all. I don’t dare mention contemporaries as I don’t want to be in the position of excluding some of my friends. A good number of them are becoming well known as street photographers. Most certainly, Cartier-Bresson, Winogrand, and Meyerowitz have been big influences. Alex Webb and Constantine Manos have been as well. I mention the latter two separately because the way Webb includes multiple layers and multiple activities in some of his amazing compositions and how Manos fills the frame are both inspiring and frustrating. I go after it, but I can’t do it. The quest keeps me going. TPL: Do you prefer to photograph alone or with friends? PK: I usually shoot alone. However, I find that some of my better photographs come when shooting with others. I function better with companionship. I find that this is true for me among many activities. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? PK: I am often out for many hours at a time and I do not want to be burdened by heavy equipment. All I carry is one camera with one prime lens. I prefer a full frame camera. That preference increases the weight a bit. I either use a Sony A9II mirrorless camera or a Leica M10. With both I use a 35mm lens. If I know that I will be shooting in a setting with a dense crowd, I use a 28mm lens. The cameras in this project were a Sony A7s in the beginning followed by a Sony A9. All pictures were made with a 35mm lens. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? PK: Because of the current pandemic, I have been doing self-portraits at home. I yearn to return to the street. For me, projects are rarely conceptualized. Instead, projects emerge from the edit of random photographs. It may be true that at times I do have a series in mind as I shoot as well. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? PK: My goal is to make about twenty more good pictures. I believe that I currently have about thirty. My criteria for “good” is high. It is easy to get “OK” photos. I don’t mean that. I am not referring to candid portraits. My interest is now more complex street scenes involving people. I am hoping a book can come out of it. At the age of eighty-three, I am not in a position to worry or plan for five years from now. TPL: “When I am not out photographing, I (like to)… PK: Be with family.” Paul Kessel's photographic journey is a testament to the power of creativity and the ability of the human spirit to turn any age into an opportunity to create new art. Paul's images of the Frankfurt Hauptbahnhof capture the beauty and complexity of life in layers. His style of street photography is both playful and profound, and his images are a great reminder of the importance of capturing moments that can be remembered and shared for years to come. If you would like to see more of Paul Kessel's photographs, please visit his website or Instagram page. VIEW PAUL'S PORTFOLIO Paul's website >>> Instagram >>> read more interviews >>> THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. 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.
- ANTONIS GIAKOUMAKIS
INTERVIEW INTERVIEW August 31, 2020 FROM A DISTANCE Photography by Antonis Giakoumakis Interview by Melanie Meggs As Antonis Giakoumakis gazes through the lens of his camera, he creates a visual story that connects with something much deeper than just the physical world. Born in Chania, Crete and now residing in Chalandri, Attica, Antonis has been "quite absorbed" by photography since 2012. His most recent photo project, FROM A DISTANCE, has been published as a photo book and is a testament to the powerful impact that photography can have on its viewers. In this interview, Antonis shares how he has evolved over the years as a photographer and offers insight into his creative process and vision. From the importance of learning from other photographers to the value of recognizing that the world is not what it seems, Antonis' words will touch your heart and give you a greater appreciation for the beauty of life that can be captured through photography. Join us as we explore the captivating work of Antonis Giakoumakis and uncover the secrets of his creative journey. “Photography is for me all the things that I do not want to forget in the moment I see them, in the space where I am found, I move, I listen and I observe. It cannot be objective, but it can be a constant reminder that the world is not what we see. It is creation, communication, a narrative. In other words, it is the representation of a truth, a fact that you are aware of at the moment of the click. A reality of your own that you feel the need to share with other people. A reality that can be different for someone else…” IN CONVERSATION WITH ANTONIS GIAKOUMAKIS THE PICTORIAL LIST: Antonis, for your feature you sent us your photo project FROM A DISTANCE. Tell us more about your project, what you were thinking about, and how you approached putting it together. ANTONIS GIAKOUMAKIS: This series of my photographs, which has also been captured in a photographic book, is nothing more than an attempt to approach human moments that most often take place subconsciously. An effort that continues. Observing people from a distance, I feel that I am distancing myself and that I am becoming more objective, more free! The large horizon, the most complete picture of the space, creates an incomparable sense of harmony and form…a calm. So, many times you get the feeling of changing time with leaps into the past or the future. The power of photography for me lies in symmetry, clarity and austerity in order to create emotions in its viewing, narratives reminiscent of music and poems we have heard or read. To be able to highlight the experiences of the photographer to bring to the surface his memories, because photography is their 'recorder'. I don't believe and I don't try to 'make' a concept with my photos, I am more interested in creating an atmosphere which, if it comes out charged, then the essence of the photo has many chances for the viewer to appear with the ultimate goal, to be collected. Too often I go back to the same places where I have been before and take pictures again and again, in an attempt to capture the 'ideal' atmosphere I would like and that may be different each time as it depends on the emotional and my mental state that I am in the specific time, as well as the given scene that fleetingly passes before my eyes. So, I try to approach my subject in an abstract way, putting as little information as possible in the composition of the frame isolating only the essential, with the greatest possible objectivity, so as to bring the human to the forefront, knowing that many times this may be… an illusion! Friedrich Nietzsche emphasizes that "Freedom is to be able to have a distance from others." TPL: Generally speaking, when did you start getting interested in photography? AG: I remember from a young age taking pictures, using my cousin's Leica, particularly on school excursions. But essentially, I started after my retirement in 2012. You see, my career didn't give me much personal time! TPL: Where do you find your inspiration? AG: I think from life itself in all its manifestations. From humans and their environment...urban, provincial, landscape. By abandoning, absence, or by a street scene. I am inspired by an image where human presence is implied. I often think that photography is an inner need to express our feelings and relive images that often pass cinematically through our eyes or that are presented to us by chance suddenly. Using a superlative tone... to trap the time and to pass into immortality. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AG: Among the many great photographers, I consider André Kertész to be the teacher of photography. The photographer who with his lens showed the value of the insignificant. He photographed for more than half a century in Hungary, Paris and New York, creating some of the simplest and most poetically fascinating images ever made. André Kertész used to say: “I express my feeling at a given moment. Not what I see but what I feel! And of course the great Constantine Manos, the Greek photographer of ordinary people! TPL: Where is your favorite place to photograph? AG: Near the sea, I love the sea...I was born near the sea in Chania. TPL: Has your style of shooting changed since you first started? AG: All things in life evolve day by day. The maturity of the eye makes me freer and more infiltrating, I think. To some extent this is due to the fact that I am seeing, almost every day, a lot of photos of 'classic' or newer photographers and I am 'reading' them with more attention. But my frame...with its geometries and with a minimalist approach...remains the same. Freedom is to be able to have a distance from others. - Friedrich Nietzsche TPL: What equipment do you prefer to use? Do you think equipment is important in achieving your vision in your photography? AG: I have a DSLR, I have a mirrorless, I have a mobile but I use my heart and my eyes, I don't need equipment to express myself, my emotions. TPL: What characteristics do you think you need to become a good photographer? AG: Love for the art of photography, love for people, the environment. To walk around in things, to be interested and concerned about what is happening around you... and strong legs! I am not so good at giving advice in general, I believe everyone must find the path to art by themselves. It is never too late! You need to know, everything your eyes are seeing is not always what it looks like. The world is not what we see! It is the indefinable and unclear that leads us to a personal approach, trying to analyze it, without succeeding every time! But it must be a continuous path... TPL: Have you ever been involved in the artistic world before photography? AG: I love music, I played the guitar, I like poetry and painting. My son is also a musician, and my wife is a painter. Art has always had a place in my heart! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AG: Many of my projects are in the process of being renewed. That makes me creative. I want to publish one more photo book (in addition to the 3 photo books I have already published) that will contain some 'small' projects that I have, but emphasizing on the texts that will accompany the photographs, which of course will remain the main subject. But all this depend on the conditions...The main issue is to be healthy! TPL: “When I am not out photographing, I (like to)… AG: I like to see photos while listening to music! The most essential is to remain a father of two kids and grandfather of three grandchildren. It is important for me to find the time and a way to feel close to them!” The photography of Antonis is truly inspiring. Through his art, Antonis has been able to explore and reflect on the world in a meaningful way. The ability to observe people from a distance gives Antonis a newfound freedom and objectivity that has allowed him to capture stunning photographs. His work is a reminder of the power of creativity and encourages viewers to explore the world with a sense of curiosity and wonder. To continue exploring Antonis' work and to follow his latest projects, please use the links below. Antonis' photography fosters a greater appreciation for the beauty of the world, and everyone should take the time to enjoy it. VIEW ANTONIS' PORTFOLIO Website >>> Instagram >>> read more interviews >>> THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices. DAYDREAM IN MEMORIES OF YOUTH Stephanie Duprie Routh's new book and exhibition serves as a layered visual diary that examines sensuality, through retrospection while examining the complexities of aging. LIMINAL SPACES Through her art, Anna Tut aims to bring attention to the complexities of femininity, challenging societal norms and highlighting the often, unseen emotional landscapes women navigate daily. DO YOU SEE MY SILENT TEARS DRYING UP THE STREETS? Justine Georget's photography explores the melancholy and detachment of urban life, capturing the silent struggles and emotional depth of city dwellers through her thoughtful street compositions. LA EDITION Step into the world of John Kayacan, where Los Angeles comes alive in cinematic frames—vibrant streets, hidden corners, and untold stories unfold in every shot, revealing the soul of the city. THROUGH MY FIRST LENS Discover the vibrant world of Madrid’s El Rastro through Carmen Solana Cires' lens. Her project captures the market's rich history, cultural diversity, and the essence of human connection. FRAGMENTS OF MEMORY Dasha Darvaj Umrigar's third-semester photo story captures the melancholic transformation of a once vibrant home, now reduced to mere whispers of solitude and loss. THE ART OF ANALOGUE In a digital era, Paul Cooklin's devotion to analogue photography elevates his work to timeless artistry, where light and chemistry intertwine, creating mesmerising, evocative images that honour the craft's rich heritage. CONNECTED DICHOTOMIES Tatyana Mazok's photography transcends art, weaving life's threads into evocative diptychs that reveal interconnected narratives, challenging us to see the beauty and complexity in our shared experiences. EPHEMERAL RHYTHMS Edwin Carungay's "Boardwalk Diary" captures the vibrant, raw essence of life at the Santa Cruz Boardwalk, celebrating the diverse and unfiltered humanity that converges along California's iconic coastline. THE ART OF SELF Mia Depaola's photography inspires self-awareness, capturing the beauty of the human spirit and immortalizing it through her insightful lens. TRUE LIFE IMPRESSIONS Matthias Godde's meticulously curates photographs that blend observation with introspection, resonating with profound emotional depth and infused with wit, irony, and occasional absurdity. NATURE KNOWS NO PAUSE Through her photographs Ann Petruckevitch captures the resilience of nature amidst the challenges of climate change, serving as a reflection on humanity’s relationship with the natural world. URBAN ECHOES Through his project “Echo,” Rowell B. Timoteo extends an invitation to explore the vibrant streets of San Fernando, where his lens captures the nuanced interplay of light, shadow, and human emotion. 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.
- THE PICTORIAL LIST | CHETAN VERMA
Street photography, to me, is fun. The fact that no moment can be repeated gives me the challenge of how to make that moment more interesting. It helps me to remember how life is full of so many interesting possibilities. As Obie Oberholzer said - "I don’t believe that one photograph is better than another; rather one is more interesting than another. So, basically, 'you get what you take'. If the objects in front of the camera are interesting enough ‘you take them’, and if they are not 'you make them'." CHETAN VERMA be inspired Gallery // ARTIST'S STATEMENT // Street photography, to me, is fun. The fact that no moment can be repeated gives me the challenge of how to make that moment more interesting. It helps me to remember how life is full of so many interesting possibilities. As Obie Oberholzer said - "I don’t believe that one photograph is better than another; rather one is more interesting than another. So, basically, 'you get what you take'. If the objects in front of the camera are interesting enough ‘you take them’, and if they are not 'you make them'." LOCATION Gurgaon INDIA CAMERA Nikon D750, Fujifilm XE4 CATEGORY street, documentary @CHETANCLICKS FEATURES // A Man's Best Friends