INTERVIEW INTERVIEW March 16, 2025 A VOYAGE OF DISCOVERY Photography by Fanja Hubers Interview by Melanie Meggs In the subtle interplay of light and shadow, Fanja Hubers’s approach to photography unfolds from a foundation of personal experience, introspection, and the act of observation. Inspired by her father’s use of the camera, Fanja’s journey began in 1982 with her first camera, a Konica Pop, a camera that became an extension of her daily life. Since then, she has maintained an unwavering commitment to carrying a camera wherever she goes, capturing the moments that connect her inner world with the external environment. Her work is not only a documentation of what she sees but a continuous exploration of how personal history, memory, and emotion intersect with visual storytelling. In A Voyage of Discovery, Fanja shifts her focus inward, using photography to explore a time of vulnerability and a deep, personal reimagining of her creative process. This project serves as a meditation on identity, questioning what it means to be both a photographer and a human being. Influenced by Indian photographer Raghubir Singh’s belief that photography reflects both the inner and outer worlds, Fanja seeks to bridge these dimensions through her images. The result is a body of work that does not merely record the visible but seeks to reveal the unseen — emotional states, fleeting thoughts, and the deeper layers of human experience. Beyond this project, Fanja’s broader portfolio includes Empty Faces, One Moment in Time, People as They Are, Rediscover the First Moment of Seeing, and The Simple Beauty of Nature. Each series represents an extension of her visual inquiry, whether through candid street scenes, studies of human presence, or explorations of momentary ephemeral beauty. Her approach remains consistent in its attention to atmosphere and the emotions embedded within the act of seeing. Her work has gained recognition in international exhibitions, including the Women Street Photographers Annual Exhibition in New York (2024), the Rome Art Expo (2023), and Photography in the Visual Culture in Palermo (2023). She has also been published in Quadro Magazine, Mina Art Magazine, and other photography journals, further establishing her presence in contemporary photographic conversation and visual culture. This interview examines the foundations of Fanja’s artistic development, her evolving relationship with photography, and the ways in which her images serve as both documentation and personal reflection. Through this conversation, we explore how she constructs meaning through visual language, how her experiences shape her perspective, and what continues to drive her pursuit of capturing life through her camera. “I started capturing and recording events, especially on weekends and summers on our boat. Over time, I learned more about the technical aspects and bought my first DSLR camera during my student years. I increasingly photographed street scenes, everyday life, and funny moments. In recent years, I have come to see photography more as an art form to express emotions.” IN CONVERSATION WITH FANJA HUBERS THE PICTORIAL LIST: Your father’s influence played a role in your early interest in photography. Are there any specific lessons or philosophies he passed down that you still carry in your work today? FANJA: Besides the fact that he also used to shoot in black and white and had a certain calmness in his compositions, it was mainly the technical aspect that stood out. When I passed my final exams, he took me to Paris. Because of his fear of heights, he didn’t dare go to the top of the Eiffel Tower. On the first floor, he explained how his camera (a DSLR) worked, and I was allowed to go to the top alone to take photos. From that moment on, I wanted a camera that I could set entirely manually. TPL: How has growing up in Utrecht, the Netherlands, shaped your visual perspective and artistic approach? FANJA: Utrecht is a beautiful city full of life. But in other cities, I felt more anonymous, and I sought that out more often—until recent years. After visiting many other cities, I have come to appreciate Utrecht even more. TPL: You emphasize carrying a camera with you at all times — is there ever a moment where you feel capturing an image would interfere with truly experiencing it? FANJA: I noticed that during my first trip to India. I had to be careful not to experience the entire journey through my viewfinder. That’s when I decided to occasionally put my camera away so I could fully experience the trip. And I know you always have to pay attention to that. TPL: Your project ‘A Voyage of Discovery’ is deeply personal, exploring vulnerability and self-reinvention. What inspired this particular shift inward, and how did the creative process evolve throughout the project? FANJA: In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. I wanted to express this in a creative way because I was increasingly discovering that photography is not just a way to document life but also an art form to express emotions. I was (and still am) quite insecure about this, but with the feedback of an inspiring photographer, I gradually gained the confidence to share more of my work. Since I started photographing with more emotion, I have also gained recognition for my work. TPL: Do you see your photography as an act of storytelling, or is it more about capturing fleeting emotions and moments in time? FANJA: Both. Photography has become more of an art form and a passion. But I must not forget to capture memories, such as my son growing up. For me, the essence of photography is still about capturing moments so that later, you can relive memories when looking back. In recent years, I have been struggling with feelings of sadness, and photography has become an important outlet. TPL: Your work captures the subtleties of human presence. Do you feel that photography has changed the way you see people in everyday life? FANJA: People don’t change, but how you see them might. This is also strongly dependent on how I feel that day. TPL: Raghubir Singh’s philosophy on photography bridging inner and outer worlds is a key inspiration for you. What other artists inspire you and your photography and why? FANJA: Valerie Jardin — I really love the romance in her photos. Elliot Erwitt—for his humorous images. But also, Anton Corbijn, when it comes to capturing emotions. TPL: How does seeing your photography in print — whether in exhibitions, magazines, or books — change your relationship with the images compared to viewing them digitally? And what are your thoughts on the role of printed media in an increasingly digital world? FANJA: I think both are important. Digitally sharing is a good way to eventually end up in an exhibition or a book. And that is ultimately more valuable than the fleeting nature of the online world. But social media also allows me to meet others from around the world, from whom I can learn and gain inspiration. TPL: As you look to the future, how do you see your photography evolving? Are there particular themes, techniques, or approaches you are eager to explore? What are your aspirations for your photography, and where do you hope to see yourself creatively in the next 3–5 years? FANJA: I would like to further develop the series ‘A Voyage of Discovery,’ and ultimately, it is a dream of mine to have a solo exhibition in my own country, so that friends and family can visit it as well. I hope I can continue like this and that I will retain my passion for photography. TPL: What would we find in your camera bag? Is there anything on your WishList? FANJA: I have no camera bag, just one camera, the Fuji x100vi, around my neck. For a backup camera, family shoots and video I have a Fuji S10 with some interchangeable lenses. But for 99% I use the Fuji X100vi. TPL: “When I am not out photographing, I (like to)… FANJA: ...Enjoy life with family and friends, my work as an educator, and play the piano.” Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic expression. A Voyage of Discovery marks a turning point in her work, shifting from observation to introspection and transforming photography into a tool for self-reflection. Her images capture more than moments; they reveal emotions, memories, and personal narratives. With a clear vision for the future, she remains committed to developing her art, sharing her perspective, and pursuing new opportunities for engagement. As she moves forward, her work continues to evolve, shaped by experience, curiosity, and an unwavering dedication to storytelling through photography. VIEW FANJA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>>

I draw inspiration from the stunning natural landscapes and diverse wildlife found in the Yarra Valley. My dedication to encapsulating the essence of this remarkable region through photography has earned recognition in numerous international and national publications. While my expertise primarily lies in landscape photography, I also specialize in professional portraits and various other genres and styles. SEAN PARIS ARTIST'S STATEMENT // I draw inspiration from the stunning natural landscapes and diverse wildlife found in the Yarra Valley. My dedication to encapsulating the essence of this remarkable region through photography has earned recognition in numerous international and national publications. While my expertise primarily lies in landscape photography, I also specialize in professional portraits and various other genres and styles. LOCATION Healesville AUSTRALIA CAMERA/S Full Spectrum Converted Nikon D800 (Infrared), Nikon D850 CATEGORY landscape, documentary, portrait WEBSITE https://www.seanparisphotographer.com/ @SEAN.PARIS FEATURES //

INTERVIEW INTERVIEW March 11, 2021 SOCIOLOGY OF EVERYDAY LIFE Photography by Neslihan Uslu Interview by Melanie Meggs Photography has the ability to capture and communicate stories in a way that no other medium can. For Neslihan Uslu, a Turkish-born photographer living in Antwerp, Belgium, photography is a way of life. Combining her studies in sociology and photography, her artistic practice is about uncovering the everyday stories of our lives. To her, the nuances of everyday life are the most powerful and beautiful stories that can be told. Neslihan's passion for documentary photography began three years ago when she moved to Antwerp. In her desire to learn more about this new city, she saw photography as the best way to do this. Every week she would focus on a different topic, seeking out the hidden stories that were hidden away in the streets of Antwerp. Her images are a reflection of her passion for looking at both the ordinary and extraordinary through a photographer’s eye. She looks for emotional moments and captures them in an honest and cinematic style, creating a visual dialogue of the beauty of everyday life. Neslihan Uslu's work is a powerful blend of fine art and photojournalism. It is a tribute to her dedication to capturing the subtle stories of our lives and the emotion that lies within them. Her work gives us a glimpse into hidden moments that many of us would never have the opportunity to witness. Through her lens, we can experience the intimate beauty of the everyday and appreciate the unique stories of our lives. “In my opinion, sociology is bold, but photography is even bolder. What I want to express with my photos is to convey events, social problems, situations, sometimes everyday life and routines as much as possible, to show real lives and feelings. I also want to do this by keeping the story plain and simple, without trying to transform or reproduce reality. Photography is already reproducing its reality through the eye of the photographer.” IN CONVERSATION WITH NESLIHAN USLU THE PICTORIAL LIST: Neslihan please tell us about yourself. How did you become interested in photography? NESLIHAN USLU: I was born and raised in Istanbul. I have been living in Antwerp for about 3 years. I've been the photographer of the family since I was young. But it was more about taking snapshots and recording everything. I started photography training in AFSAD (Ankara Photography Artists Association) the year I decided to study Sociology at the university in 2000. I feel like I’m still at home while developing photos in the dark room. During my 4-year university education, photography training and projects continued simultaneously. During this period, I also had the opportunity to participate in group exhibitions. My focus on documentary photography was continued with my thesis. This was the breaking point for me. While I was writing my thesis on "Othering and Labeling in Modern Era: Romani people living in Turkey”, I met many people, took many pictures and I had the opportunity to learn a lot about photography. That's why Josef Koudelka's Gypsies project is always very special to me. TPL: Tell us more about the series of images from Chinatown that you have shared with us. Could you elaborate a bit on your thoughts on the concept and how you manifested your ideas into a documentary project? NU: Actually, this short study is one of the first steps of my work on the “cultural importance of festivals and their perception in different cultures” that I want to do in the long run. Festivals are an impressive way to celebrate culture and traditions. At the same time, we come together with our loved ones and share happiness. It is important for cultural solidarity. In addition to this, it can evoke different emotions in different cultures. What I wanted to show was the difference and similarity of the emotions it aroused in people from different cultures through the Chinese New Year celebration. To put it better, it was the cultural perception of this celebration. Before the celebrations, I went to Chinatown many times and observed. That gave me the information about the photos I will be taking: where I should stand, from what point of view I will see. I don’t think I can easily tell a story that I don’t have an idea about, whether it is a documentary or a photojournalism. TPL: Sometimes you combine your Sociology into your Photography. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? NU: In my opinion, sociology is bold, but photography is even bolder. What I want to express with my photos is to convey events, social problems, situations, sometimes everyday life and routines as much as possible, to show real lives and feelings. I also want to do this by keeping the story plain and simple, without trying to transform or reproduce reality. Photography is already reproducing its reality through the eye of the photographer. When I think of myself as a viewer, the photographs that awaken a feeling in me, make me ask myself questions and think critically feed me. I want them to inspire similar feelings in those who look at my photos as well. I believe that the more we present to the world, the greater steps we take for change and development. That's why Lewis Wickes Hine, the photographer and sociologist who documents child labor, is one of my idols. Hine's images of working children helped change the nation's labor laws. Through his photography, Lewis Hine made a difference in the lives of American workers and, most importantly, American children. I'm trying to include the connection between the sense of place and people in my photographs. I think this allows me to tell my photo stories more powerfully. TPL: Where do you find your inspiration to photograph? NU: I find my inspiration in history. Everything that has witnessed history means a lot to me. Maybe that's why I love to chat with old people and listen to them, to go around antique markets and second-hand bookstores. TPL: Do you have a favourite place to photograph? NU: Everywhere that I can find documentary photos and stories. To be honest, I think the events and the connections you establish make the difference, not places. Nevertheless, the historical streets in İstanbul that start from Istiklal Street and end in Galata Tower are always a journey to my heart and my childhood. I also like to go to the old passages and shoot in low light conditions there. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? NU: There are many photographers and artists. Master photographers always inspire me, teach me to see and narrate. Dorothea Lange, Vivian Maier, Bieke Depoorter, Semiha Es, Ansel Adams, Sebastião Salgado, Alec Soth, Ara Güler, İzzet Keribar, Martin Parr, Josef Koudelka, Emin Özmen, Alex Webb…Their works play a big role in making me who I am. Cinema and my favorite directors also make me look at photography differently. I learn how to use tones, whether in monochrome or in color, and how to take dramatic photographs through cinema. I think it is necessary to keep the intense and fertile relationship between cinema and photography in order to do a good job in photography. Jean-Luc Godard expressed "Photography is truth. And cinema is truth 24 frames a second." I absolutely agree with this. At the same time, the magical world of cinema contributes to my imagination in every way. Vittorio De Sica, Lars Von Trier, Ken Loach, Nuri Bilge Ceylan have a special place in my heart. And all of my photographer friends who live in different places of the world. We also have a photography group called Antwerp Photo Collective in Antwerp and I am inspired by all of them. I find it historically and sociologically important to convey culture from generation to generation. Being able to explain a cultural structure that I know makes me feel both excited and responsible. We're losing so many memories and I want to keep them alive. TPL: Do you have a favourite quote, lyric or saying that especially resonates with you? NU: In an interview, Ken Loach says, “You have to find a story you have to tell. It should be a story that you must tell, not a story which might have been a good one when you tell.” I'm trying to do this with my camera. It takes me into photography, pushes me to research and learn. 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? NU: I currently have equipment that I love very much. I use Fujifilm X-T3. I want to have a medium format camera in the long run. I take most of my photos with 35mm f/1.4 lens and 50mm f/1.8 lens. However, sometimes I need different equipment and lenses, depending on the style of the photo I want to shoot. 35mm prime lens is always my favorite. It is a wide angle lens and it helps me have a more accurate perspective. It's enough to capture powerful images. I also have zoom lenses but I rarely use them. I like my camera being small and quiet but I always have to carry a spare battery. I do my analog shots with Nikon F80 and Leica Z2X, even though less often. I'm a fan of cinestill film. TPL: When you go out photographing, do you have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? NU: I often let the images come to me when I go out shooting. Maybe I will encounter something new that I do not know or I will see something I am familiar with, from a different perspective. I keep a sort of photo diary. Sometimes I just give myself homework about a specific theme. I am trying to create a photo series about the theme. For example, from the people who are reading at the café to the street lamps, from the women dressed in green to the bins, from the joy of victory to the someone who seems unhappy, there can be a variety of subjects and emotions. Also, even when I have a concept in my mind and shoot about that, the results I see are different from what I plan. Sometimes this makes me happier, sometimes it causes me to throw everything away and rework the same concept. It helps me to realize long and extensive projects. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? NU: I want to reach more people with my photos. I'm building my website (www.neslihanuslu.com ) and it will be accessible in February. I would like to publish my project that I am working on and dedicate it to my parents. I would like to present my 2nd draft project to a publishing house in Belgium and work on it in collaboration. I have a long way to go, and I love this feeling. Some things will change along the way and this will influence my approach to photography. TPL: You mentioned that you are currently working on a documentary project 'Crimean Tatar Villages.' Could you tell us about it. NU: I find it historically and sociologically important to convey culture from generation to generation. Being able to explain a cultural structure that I know makes me feel both excited and responsible. We're losing so many memories and I want to keep them alive. I am a Crimean Tatar from my father's side. My grandfather settled by migration to Turkey after a difficult period. My father was born and grew up in Eskipolatlı, a typical Tatar village in Ankara. Crimean Tatar is spoken among themselves. This group has a unique culture and lifestyle. This is what I was born in. I listened to the stories and witnessed this culture. I will especially focus on the food culture and domestic life. I will do photo shoots and interviews in Eskipolatlı village in order to maintain the cultural heritage and introduce this culture to future generations. Due to Covid-19, I couldn’t travel to Turkey and I couldn’t make the shots that I had planned last spring. For the moment I continue to do interviews. If everything goes well, I aim to complete my project within a year. Unfortunately, while I was writing my thesis, I could not reach the references that I wanted and I think I know the difficulty and the meaning of this. For this reason, I want it to be a small contribution for those who are interested in the subject. TPL: When I am not out photographing, I (like to)… NU: Watch movies, spend time with my family and friends, cycle, do handicrafts and travel. Neslihan Uslu's photography is a powerful medium for capturing and communicating the stories of our lives that often go unnoticed. Her commitment to uncovering the hidden and unique moments of everyday life is an inspiring reminder of the beauty that lies within us. We can all learn something from Neslihan's dedication to photography and her passion for telling the stories of our lives. VIEW NESLIHAN'S PORTFOLIO Website >>> Instagram >>> read more interviews >>>

INTERVIEW INTERVIEW October 14, 2020 SPECIAL LIGHT Photography by Assia Starke Interview by Karin Svadlenak Gomez Assia Starke was born in Russia, but has lived in Austria half of her life. She has been fascinated in photography since childhood, having grown up watching her father develop photos in an improvised darkroom at home. She renewed her interest in photography when she became a mother and now finds inspiration in everything around her. In her photos she tries to include lines, patterns and emotions, and she always reminds herself that you have to let your inner self decide what makes a good picture. Assia shared some of her travel photos from Morocco and other places with us. We asked her to tell us more about what drives her passion. “Nature, the world around me gives me inspiration. I can get touched to tears by a beautiful sunrise or sunset but also be fascinated by the green glossy wings of a bug or the pattern of a maple leaf in the back-light.” IN CONVERSATION WITH ASSIA STARKE THE PICTORIAL LIST: Assia please tell us about yourself. When did you start getting interested in photography? ASSIA STARKE: I was born in Moscow and grew up there, went to school and to the University. My first job as a tourist guide took me through the country and a little bit through the world. I guess, this is where and when my passion for travelling started, although the way I do it, the perception is very different now. I did not take many pictures on the way then but it is still interesting to compare the pictures I bring now from my journeys to those early ones. My encounter with photography started many many years ago as I was allowed to watch my father print black and white photos in our bathroom – the only room without windows in our small apartment in Moscow (where I was born and grew up). My father was a hobby photographer. He was very much interested in nature but most of the pictures I know were family photos. Photography can be a very time consuming hobby, so I guess he sacrificed some of the time he would have liked to work on it for the family - to spend more time with my brother and me...but he passed his photography passion on to us - it became my brother's hobby as well. I was so much fascinated by this magical moment when the image was slowly emerging on the white paper that I wanted to try it myself. And so I took my first pictures with the fully manual Praktica film camera with a Carl Zeiss 50mm f 2.0 lens – which I am still using with an adaptor on the digital cameras now...the so called imperfection of this lens (measured by today’s standards) is its magic – again compared to the technically more advanced but too sober “modern” lenses. I also printed my pictures myself – even with dodging and burning here and there – but of course those were only childish first attempts. I then studied, moved to another country with a new job, married – and only when my daughter was born, I picked up the camera again. TPL: What was it like, growing up in Russia, and when did you move to Vienna? AS: I personally think that I had a very happy childhood. I had loving parents who took good care of me and supported me in my development. I was very fond of reading and could read for many hours non-stop. Children had access to a lot of 'culture' - museums, theatres were cheap, libraries free...there were many activities - sports, music shows, drawing and painting classes - that were free as well, and many teachers were real enthusiasts (as they did not got paid much...). I do not think that many children of my generation got the impression that they were suppressed in any way and were not living in a free society...These are things that you start thinking about and understand when you get older. I came to Vienna with a job for a joint venture (I started working for them in Moscow) - planned for a year. It has been more than 20 years now. TPL: Did you have any exposure to photography, as in art in books or exhibitions, back then in Russia? AS: I do not think so, not photography. I often went to the Pushkin Museum in Moscow and to the Hermitage when travelling to St. Petersburg, and we also had big albums with paintings from those museums - and I loved to go through them (well, with childish awe) - and then I discovered the Impressionists... so these are my 2 big 'loves' - the light of the old masters and the colours and style of the impressionists. As I cannot paint, it comes out through photography, I guess. TPL: Where do you find your inspiration? AS: Nature, the world around me gives me inspiration. I can get touched to tears by a beautiful sunrise or sunset but also be fascinated by the green glossy wings of a bug or the pattern of a maple leaf in the back-light. 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? AS: My first digital camera made me want to make better pictures – I started reading and watching, joined a couple of online communities – this educated me a lot, of course… at first I learned what I liked and did not like, then I learned the rules – and then I found out that what makes good pictures is letting your inner self make them (knowing the rules at the back of your head still – this helps a lot, of course). The ultimate and crucial thing is light of course, and I always try to include lines, patterns and emotions (when photographing people which does not happen very often, I must admit). Being able to combine photography with my second passion – travelling makes me happy. Being able to combine photography with my second passion – travelling makes me happy. TPL: Do you prefer to photograph alone or with friends? AS: I prefer to photograph alone so that I can take my time but even with people around I get so much carried away that I tend not to notice them. TPL: Who or what would you say has has mostly inspired your style? AS: I do not think I am advanced enough to say that I have found my own style already…my interests are too widely spread. And I must say that I am fascinated and most impressed by other people’s good photos in genres that I cannot or do not do myself – I am so much attracted by black and white photography (with very high contrast) – and I myself mostly do colour, by street photography – and I myself mostly do travel and landscape, by artistic still life – and my still life shots are more about geometry - shapes, lines and patterns… I love impressionism – I think, it is a way of thinking and can come out in different ways. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AS: My mostly used gear are zooms – 24-70mm and 70-200mm – but sometimes my soul calls for dreamy bokeh – so my father’s 50mm Carl Zeiss and my other favorite Canon 50mm f1.2 come out to warm my heart. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? AS: What are my goals? I hope not to get stuck and bored by my own photography. I will keep trying out new things and I also hope to be able to show the beauty of nature and love that is in the air and share it with other people – my way of trying to make this world at least a little bit better through it… Life and photography are so diverse and there is place for everyone, any style, any opinion. TPL: "When I am not out photographing, I (like to)… AS: My 9 to 5 job can be very time consuming. I started learning Spanish as we were planning to go to Latin America next year...but now - who knows. I enjoy reading (not much lately, I must admit) and cinema, hiking and Nordic walking are my other hobbies." We take the opportunity to thank Assia for sharing her travel and landscape photography with us. Special light inspires us in all of them. Follow her travels by connecting with Assia on Instagram. VIEW ASSIA'S PORTFOLIO Instagram >>> read more interviews >>>

PICTORIAL STORY PICTORIAL STORY August 2, 2024 IN-VISIBLE PAIN Photography by Isabelle Coordes Story by Melanie Meggs In the profound and evocative series ‘In-Visible Pain,’ Isabelle Coordes delves deep into the enigmatic world of chronic pain, presenting a raw, unfiltered narrative through her art. This work is not just a collection of images; it is a visceral exploration of the silent, often misunderstood struggle that millions living with chronic pain endure daily. Isabelle, a self-taught amateur photographer from Münster, Germany, uses her keen eye and intimate understanding of human experience to make the invisible visible. 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. Her photography transcends mere visual art; it is a compelling dialogue between the seen and the unseen, the spoken and the unspoken. In her images, we witness the haunting presence of pain, not as a mere symptom, but as a profound aspect of the human condition. In this project, Isabelle offers insights into her visual diary. Documenting her chronic pain over the course of several months was a transformative experience for Isabelle. In using her camera as a catalyst, she was able to shed light on the parts of herself that had never been visible before, revealing layers of stored trauma and grief. “When you become your own observer through the eye of the camera, you are gaining a new perspective on yourself. You may see yourself in a new light. You may even develop more compassion for yourself. And this can be a cathartic experience.” Isabelle's background as a Speech-Language Therapist and her extensive studies in Human Medicine, Psychology, Communication Sciences, and Linguistics enrich her photographic narrative. Her systemic approach to understanding humans within their social networks is evident in her compassionate portrayal of isolation and resilience. These themes resonate deeply in her work, reflecting her belief that no one is an island and highlighting the interconnectedness of our experiences. In In-Visible Pain, Isabelle’s camera acts as a mirror, revealing her inner struggles and encouraging viewers to join her on a personal journey. Her ability to capture the profound significance of her solitary existence and the intricate nuances of her pain demonstrates her deep empathy and keen observational skills. Each image serves as a testament to Isabelle as a visual storyteller, evoking deep contemplation and inviting diverse interpretations. “You cannot objectify chronic pain. It is invisible. No brain scan proves it, no blood test shows it. There is no evidence for the hell you are going through. It’s all in your head. And it is mighty real.” These words resonate deeply for many who suffer from chronic pain — a condition that defies conventional medical diagnostics and is often met with skepticism. Chronic pain is an enigma, a relentless tormentor that leaves no physical marks, no tangible evidence for others to see. It is a silent struggle, often dismissed as imagined or exaggerated. Yet, for those who endure it daily, its reality is undeniable. For Isabelle, chronic pain has been a relentless companion since childhood. “I have been suffering from chronic pain since I was a little girl. The fact that nobody found any explanation for it made it clear to me that I had to endure it. It became a given to me which I learned to ignore as much as I could.” This adaptation became a survival mechanism for Isabelle, an ingrained response to a world that didn't understand. Ignoring the pain became second nature, a necessary means to navigate life. However, chronic pain is not a consistent companion; it ebbs and flows, arriving unexpectedly and wreaking havoc on your daily life. Isabelle recounts years spent seeking every possible remedy, from medications to holistic approaches, all in the hope of finding a permanent solution. Yet, each attempt provided only temporary relief. “The pain always returned, more forceful, more frightening.” The burden of chronic pain rarely comes alone, turning life into a battle on multiple fronts. Despite these challenges, Isabelle remained determined to meet responsibilities and live up to personal expectations. Distraction became a coping mechanism, a way to push through the darkness. “Sometimes, the pain brought friends along, also known as Depression and Anxiety. It was getting more and more difficult to ignore it. Still, I kept myself busy with fulfilling my duties and meeting up with the standards I had set for my life.” But there comes a breaking point, a moment when the body and mind can no longer endure the constant strain. “Until I realized that my body was no longer willing to obey. Until I realized that medication no longer brought relief. Until I realized that I had to make room for the stuff I had been pushing down for so long.” This profound realization marked a turning point in her journey. This confrontation with reality took a profound and creative turn. Isabelle turned to self-portraiture, using the camera as a tool for introspection and revelation. “One step on the way for me was to make the invisible visible. In portraying myself throughout this process, I came face-to-face with my truth. I took off the mask and explored what was beneath it.” Through the lens, Isabelle uncovered layers of denial and avoidance, recognising the vicious cycle of suffering. The camera became a mirror, reflecting hidden struggles that words could not capture. “My camera became the only witness when there were no words left. For the first time in my life, I saw how I kept myself stuck in a vicious cycle. I began to understand that the pain is nothing to be pushed against, nothing to be ignored, but instead: a messenger that deserves to be heard.” Embracing this perspective marked the beginning of a journey towards understanding and healing. By documenting the pain through self-portraiture, Isabelle has brought the unseen into focus, confronting the profound and personal truth of chronic pain. This powerful visual narrative not only offers a cathartic release but also invites viewers to witness and acknowledge the often dismissed reality of chronic pain. In this body of work, we witness an artist bravely confronting her tormentor, turning her pain into a powerful visual and emotional narrative. The self-portraits uncover the hidden reality of chronic pain, inviting the viewer to witness and acknowledge its often denied existence. This work stands as a testament to the resilience of the human spirit and the transformative power of art in the face of profound personal struggle. Isabelle Coordes’ work is a beacon of hope and understanding. Born from a lifetime of enduring chronic pain, Isabelle’s work challenges the societal norms that demand physical evidence for validation. Her camera became a tool for introspection and revelation, unveiling the hidden layers of trauma and resilience that define her journey. “One step on the way for me was to make the invisible visible,” she reflects, capturing the essence of her artistic mission. Her dedication to portraying the diverse facets of life, coupled with her passion for connection, underscores the transformative power of art. As a member of Progressive Street and an ambassador for the 24hourproject, she champions the belief that together, we can be the change we want to see in the world. Ultimately, Isabelle invites us all to contemplate our perceptions of pain, empathy, and the transformative potential of visual storytelling. Her dedication to shedding light on the often-overlooked realities of chronic pain is deeply appreciated by The Pictorial List. We commend her unwavering spirit and commitment, which serve as a potent force for cultivating empathy and igniting profound social change through the medium of art. view Isabelle Coordes' portfolio Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author/s, and are not necessarily shared by The Pictorial List and the team. read more stories >>>

INTERVIEW INTERVIEW December 7, 2020 LANDSCAPES OF SOUTH AUSTRALIA Photography by Alex Frayne Interview by John St. With a 8mm camera in hand, Alex Frayne has been capturing the beauty and resilience of South Australia's landscapes for over 20 years. He has documented his travels through short films, a feature film and still photography, earning much acclaim for his Adelaide Noir and Theatre of Life series and books. Now, Alex is embarking on a new journey to document the timeless and daunting beauty of his home state in his upcoming book, 'Landscapes of South Australia'. Through his honest and artistic approach, Frayne hopes to capture the rugged beauty and strength of the landscapes, as well as the marginal farming opportunities and a kind of rusted beauty that speaks of resilience and the triumph of human spirit. In this interview for The Pictorial List, Alex takes us on a journey to explore South Australia's vast and stunning terrain, giving us an insight into what it can mean to capture such beauty through his powerful images and narrative. “The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic.” IN CONVERSATION WITH ALEX FRAYNE THE PICTORIAL LIST: Alex, please tell us about yourself. How did you become interested in photography? ALEX FRAYNE: I think from the age of ten, I have had cameras around me. My mother bought me an 8mm movie camera in the early 90's and from there I moved into 35mm while studying filmmaking at Flinders University. Indeed my pedigree in film-making looms large in my photographic work, despite photography being my primary 'form'. Though born in the United Kingdom, (my Australian parents were studying there in the 70's) I have lived the majority of my life in South Australia and currently reside there. TPL: Tell us more about your project LANDSCAPES OF SOUTH AUSTRALIA. What was your motivation to make it a book? AF: The idea for a series dedicated to landscapes has its genesis in my early career in filmmaking. One of the assets of South Australia is the plethora of wide open landscapes of incredible diversity we have here. I had always intended to shoot the landscapes either as part of a film or as part of a photographic series. Having a rural upbringing also played a part; I saw the world around me and wanted to depict that world in a way that was artistic. To achieve that, I needed to suffuse the work in honesty and integrity. It meant that I needed to eschew all the notions and stereotypes that existed about landscape photography and South Australia. I needed to create a 'tabula rasa' so that the work could not be linked to pre-conceived notions of South Australia, or movies, or tourism or tropes that float about in my visual memory. This process of "erasure" is key to starting a new project, I feel. The new book LANDSCAPES OF SOUTH AUSTRALIA is a large, hardcover 216 page art tome which will be in shops for Christmas. I've been working on it this year with the designer Nick Phillips. Wakefield Press are publishing it, they've been very patient and loyal across this and my previous two books, 'Adelaide Noir' and 'Theatre of Life'. Michael Bollen is the boss at Wakefield Press, he works tirelessly at the helm. TPL: Your photographs tell a story and they have this special quality of light and richness of colour...all the quality of cinematography. Is storytelling actually a big part of your photography? AF: Yes colour and light and composition. These are the tools I use. Composition, specifically comes from my cinema heritage, as in the French phrase "mise-en-scene" which means "the arrangement within the frame" or the spatial geometry that exists within a frame. In terms of storytelling, yes, there is an element of that in photography, but I think it's not front-of-mind for me when shooting. For me, more important are notions of mood, tone, dreams, sadness, joy and revelation. People may ascribe a story to a photo, but that's their business. It will inevitably be different to my notion of the story. TPL: Where do you find your inspiration? And do you have a favourite place to photograph? AF: I love to photograph ghost towns or rust-belt places. I think Woomera and Tarcoola top the list here, because of the decay that is imbedded in the beautiful and remote areas where they are located. The juxtaposition of these 20th Century places set against the wilderness that eventually saw their demise is fascinating, photographically speaking. These places were all part of various "industries." Woomera was once a Space-Race outpost with cutting-edge technology and a rocket range. It was the place for the Anglo Australian cold-war rocket testing site. Tarcoola was a gold-rush town on the Trans-Continental Railway Line. Tarcoola is actually a proper ghost town - nobody lives there, as in NOBODY. It's difficult to reach, but rewarding, photographically because you are seeing how things are, how things were, and you're enveloped by an outback landscape that has existed forever. To the south, you're in the Gawler Ranges, on Barngala land, inhabited for 60,000 years, with trees like this one, standing there against time and space. TPL: Describe your style? Do you mainly focus on landscapes although I love your series "The Overseers of Street" where you shoot street portraiture. As a photographer sometimes you can get pigeonholed into a certain genre...what are your thoughts on this. What are some elements you always try to include in your photographs? AF: I think my style is free-flowing and improvised, a bit like jazz...It's unrestrained and unencumbered and low-tech. I shoot only analogue formats, my camera gear is probably worth less than 2 grand...but of course there are expenses in film stock and processing (but I develop my own black and whites.) I shoot 120 film and 35mm. So I create my own 'music' through my art, I really don't think too hard about genres and such...if my heart desires to shoot a street portrait series, I'll go and do it. My second book was a portrait book, 'Theatre of Life'. What I don't do is ask permission from anybody to do what I do. I don't sit around wondering what friends and colleagues or powers-that-be might think. That's not jazz, that's art by committee. Elements I include in my work are whatever elements are required to yield an emotional response; and that response is more important that format, sharpness, camera brand or film emulsion. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AF: My favourite artists are the ones you've probably never heard of. The grass roots artists. The community artists, the rural artists, the art teachers in public schools, the amateurs and the older artists who've had to work in a factory their whole life and who have kept doing their hobby art. These people often they write to me asking if they can paint an image of mine to improve their technique. As far as major artists of influence I'd include Steinbeck, Miles Davis, the guitarist Allan Holdsworth and the noir-fiction writer James Ellroy. Frayne's eerily still urban landscapes have been likened in their classical framing and pervasive sense of strangeness in the familiar, to the work of Stanley Kubrick and Jeffrey Smart. - Simon Caterson, The Australian TPL: Do you have a favourite quote or saying that especially resonates with you? AF: Being a jazz nut I can't help but quote the great Miles Davis, who once wrote: "The real music is the silence and all the notes are only framing this silence." I think this applies to photography. It relates to using space, negative space and keeping the frame uncluttered. TPL: What motivates you to take photographs? Do you ever have any struggles in photography? AF: It's the same struggle that confronts most artists and that is the struggle of perpetually having to create new work that gives voice to the ideas that are always percolating away underneath the surface. The motivator can be variety of things. It can be artistic, commercial or in the best case, both. The motivator can also be boredom. If that is the case, taking photos is a sure-fire remedy. TPL: Describe what you love or hate about the camera you use? Does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? AF: I only shoot film, though have used digital for some night work. I shoot with three cameras: a Yashica 6x6 124g medium format camera; a 6x9 Fuji camera also in medium format; and I shoot a Nikon FE 35mm camera for everything else. I love all these cameras in different ways, they're all film cameras, and if handled properly yield images that produce sparkling, element images that digital can never reach. Film has an emotional undercurrent in the image, it just looks better to me. For monochrome I usually shoot Kodak Tri-x, and I develop at home in a HC110 developer. My favorite lens is the 4 element Tessar 80mm lens in my Yashica. Film can also have challenges. In a story that I've told many times, I once took my rangefinder Fuji 6x9 camera up to the Riverland. I shot what I considered to be my some of my best work. Unfortunately, I'd forgotten to take the lens cap off - a mistake that can easily happen with rangefinder systems. A day later the lab called to tell me the developed slide film had "no density." That's a mistake you only make once. TPL: Have you ever been involved in the artistic world before photography? AF: Yes I've been around art since forever. I had great teachers all through school and Uni, and I am surrounded by great people in Adelaide in all the allied arts. Adelaide is the arts capital of Australia - my old Latin teacher would say..."quod erat demonstrandum," Adelaide is the Athens of the South. TPL: What are some of your goals as an artist? Are there any special future projects that you would like to let everyone know about? Where do you see yourself or hope to see yourself in five years? AF: I think a goal is to continue being curious about the world! Without that, there is no anchor. I'd like to continue collaborating with other artists as I do from time to time and to continue working on my aesthetics. I think the notion of aesthetics is really wound up in how you view the world, which is really about how you understand your own place in the universe. This could take five years or fifty! Apart from the immediate project and book LANDSCAPES OF SOUTH AUSTRALIA, I am also working on a project with theatre director Catherine Fitzgerald, it's called called DRY, and it recently received major Commission Funding. It's a play, and features some of my images as projections. It's slated to tour in October 2021...definitely worth a look, Catherine's a top notch director. TPL: "When I am not out photographing, I (like to)… AF: I'm usually on a sand-belt golf course somewhere! I play golf off a handicap of 8...and if you think photography is a tough caper, try playing golf...it's an impossible sport." In Alex's new book, he has shown us a side of Australia that is often overlooked and forgotten. His photos take us on an intimate journey through the beauty and honesty of the South Australian landscape. His photography speaks of resilience and the triumph of the human spirit. We are inspired by his work and encouraged to reflect on the beauty of his home state and the importance of preserving it for future generations. To join in the celebration of this work, we invite you to buy his book or tour Alex's website and Instagram and see the beautiful honesty of Australia for yourself. VIEW ALEX'S PORTFOLIO Buy LANDSCAPES OF SOUTH AUSTRALIA Website >>> Instagram >>> read more interviews >>>

Photography taught me to ask myself which is the reality, where it is and whether it exists. I conflated early the illusion that I take pictures of reality. So, I started studying the frame and my aim was to understand the content. I concluded in endless ascertainments, I tore them inside and some other times outside. In time I realized that everything I allowed to enter in my field of vision was the “signified” of my existence. The composition of a picture is everything that does not appear or exists in the photographer’s soul when she takes a shot. A picture cannot exist if it has nothing to say and the photographer exists because she can communicate pictures. In this point there exists a tiny deception from the picture’s view: “it promises reality” just like it happens in illusive love when “it promises the ideal”. The photographer does not use words, he/she uses the frame for communication. She does not possess reality, not even her own reality but, for sure, she is not contained in what she imprints with the camera. Every shooting resembles a search. The difference is that the photographer dives into the unconscious. YPATIA KORNAROU be inspired Gallery // ARTIST'S STATEMENT // Photography taught me to ask myself which is the reality, where it is and whether it exists. I conflated early the illusion that I take pictures of reality. So, I started studying the frame and my aim was to understand the content. I concluded in endless ascertainments, I tore them inside and some other times outside. In time I realized that everything I allowed to enter in my field of vision was the “signified” of my existence. The composition of a picture is everything that does not appear or exists in the photographer’s soul when she takes a shot. A picture cannot exist if it has nothing to say and the photographer exists because she can communicate pictures. In this point there exists a tiny deception from the picture’s view: “it promises reality” just like it happens in illusive love when “it promises the ideal”. The photographer does not use words, he/she uses the frame for communication. She does not possess reality, not even her own reality but, for sure, she is not contained in what she imprints with the camera. Every shooting resembles a search. The difference is that the photographer dives into the unconscious. LOCATION Athens GREECE CAMERA Nikon D600 CATEGORY conceptual, fine art, theatre, portrait, street WEBSITE https://ypatiakornarou.gr @YPATIA_KORNAROU @PHOTOYPATIA FEATURES //

I am a photo artist and documentary photographer based in Azerbaijan. My work explores the intersection of culture, nature, and everyday life. Through long-term projects, I aim to capture the essence of remote villages, urban landscapes, and the deep human connections that shape life across Azerbaijan. My photographic journey began in 2009, and over the years, I’ve experimented with various genres — from documentary and street photography to landscape, minimalism, and conceptual work. I’ve had the privilege of participating in prestigious masterclasses, including those led by acclaimed Magnum photographers such as Chien-Chi Chang, Thomas Dworzak, and Sabiha Çimen. My work has been featured in international competitions, exhibitions, and publications — all of which continue to inspire and shape my evolving perspective as an artist. ZAMIN JAFAROV ARTIST'S STATEMENT // I am a photo artist and documentary photographer based in Azerbaijan. My work explores the intersection of culture, nature, and everyday life. Through long-term projects, I aim to capture the essence of remote villages, urban landscapes, and the deep human connections that shape life across Azerbaijan. My photographic journey began in 2009, and over the years, I’ve experimented with various genres — from documentary and street photography to landscape, minimalism, and conceptual work. I’ve had the privilege of participating in prestigious masterclasses, including those led by acclaimed Magnum photographers such as Chien-Chi Chang, Thomas Dworzak, and Sabiha Çimen. My work has been featured in international competitions, exhibitions, and publications — all of which continue to inspire and shape my evolving perspective as an artist. LOCATION Baku AZERBAIJAN CAMERA/S Canon Eos 5D Mark IV CATEGORY social, documentary @ZAMINJAFAROW FEATURES //

INTERVIEW INTERVIEW March 5, 2020 AN OBSERVED REALISM Photography by Melanie Meggs Interview by Karin Svadlenak Gomez As people, we are often defined by our experiences – some good, some bad – that shape who we are and how we interact with the world around us. For one Australian visual artist, her near-death experience was the light that shone a new path in her life, leading her to explore photography as a creative outlet and a way to escape from reality. Melanie Meggs is an artist and visionary photographer, whose work speaks to the depths of the human experience. With a background in Fine Arts and years of field experience, Melanie has a unique talent for creating scenarios through strangers on the streets, exploring the intersections of reality and fiction. Her photography is often satirical humorous and serves as a psychological representation of her escape from the everyday. The creative mind behind The Pictorial List, Melanie's artistry runs deep and her thought-provoking works give viewers a rare insight into her world. Through her lens, she invites us to join her on a journey of exploration, allowing us to take a glimpse of the reality she has created for herself. Her works are captivating, mysterious and simply beautiful. Melanie's story is inspiring and her works serve as a reminder that art can be used to explore and express the depths of our inner lives. Join us as we go behind the lens with Melanie Meggs to discover how photography changed her life. You'll miss the best things if you keep your eyes shut. - Dr. Seuss “From a young age, I have been completely mesmerized by people and their complex interactions in different scenarios. I intently observe and analyse their behavior and social relationships, as I find it incredibly fascinating.” IN CONVERSATION WITH MELANIE MEGGS THE PICTORIAL LIST: Melanie, when did you start getting interested in photography? MELANIE MEGGS: As far back as I can remember, I have always had a passion for photography. It all started when I was a young child and I would snap pictures of everything around me with my trusty camera. When I began studying art, I was overjoyed to receive my first SLR camera - a secondhand Nikon FE. I still have that camera to this day and it holds a special place in my heart. While I was initially more interested in the theoretical side of photography, I loved the experience of working in the darkroom and seeing my images come to life before my eyes. Although it's been many years since then, those memories remain vivid and exciting. A few years ago, my life was almost taken away from me by Sepsis (Streptococcal Toxic Shock Syndrome), but I used that experience to change my perspective on life. I was very lucky to have survived. I began to appreciate life in a new light, taking a camera out with me on my daily rehab walks to keep me company. Through my viewfinder, I was able to escape the reality of my illness and everyday life. Even today, photography remains a place of solace for me. TPL: Where do you find your inspiration? MM: I derive my inspiration from my passion for painting. Though I can no longer paint with the same skill as before, I have discovered a way to incorporate my love for painting into my photography. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MM: I have forever been inspired by artists such as Jeffrey Smart, Edward Hopper and David Hockney. The way they created these precisionist depicted scenes of urban landscapes that were full of playful allusions appealed to me very early on in my life. I recently have found inspiration in the conceptual photographic works of Ben Thomas and Maria Svarbova. TPL: Has your style of photographing changed since you first started? MM: Certainly, my approach to photography has evolved over time, and I anticipate that it will continue to evolve as I gain new insights and knowledge. TPL: Where is your favourite place to photograph? MM: I really enjoy taking photos at the beach these days. People there seem more carefree and happy, which makes for great photos. I recently visited Japan, and it was a photographer's dream come true. There were endless opportunities for amazing shots, and the people there were wonderful. I'm already planning to go back again in the future. I also love experimenting with different techniques in art galleries and museums. It's a fun way to challenge myself and create something unique. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you think equipment is important in achieving your vision in your photography? What is your current camera and why did you choose it? Is there anything on your wishlist? MM: I would love to have a camera with weather-sealed medium format or full frame capabilities to successfully achieve my photography objectives. This feature is crucial to my work, as I often capture images in sandy or wet surroundings, and it is essential to the quality of my work. Additionally, I aspire to produce enormous prints in the future, and having a camera with more megapixels will help me achieve this goal. I currently use the Olympus OMD EM II and mostly use my prime lenses 17mm (35mm equiv) and 85mm (170mm equiv). I have a deep affection for my Olympus camera. Its 5-point stabilization, lightweight design, and ability to produce stunning colors makes me hesitant to invest in a new camera at the moment. On my wishlist, emphasis on WISH!...a Leica or a Hasselblad...I shall just keep dreaming at the moment though. TPL: Have you ever been involved in the artistic world before photography? MM: I have a diverse background in the arts, having studied Fine Arts with a focus on art history, painting, and printmaking. Additionally, I studied music and can play the tenor horn, trumpet, and tuba. From 2012, I co-owned a homewares, florist store, and gallery with my close friend, where we showcased the work of talented Australian artisans. Our store also featured our own handmade timber furniture and homeware designs. Sadly in 2018, we had to close the store due to my illness. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MM: The Pictorial List!...A worldwide online community photography platform that delves into the intricacies and splendor of all types of photography. We have numerous exciting concepts in the works and can't wait to share them with you! TPL: “When I am not out photographing, I (like to)… MM: Something creative! Enjoying life on sunny days.” A combination of observed realism and a touch of quirkiness abounds in Melanie's photographs. Join Melanie on Instagram for a glimpse into her life as she pursues her passion for photography. VIEW MEL'S PORTFOLIO Mel's Instagram >>> read more interviews >>>

Central to my photography practice are people and environments - people in nature, people in the city and often people near the sea. My ambition for my work has always been to document, in a candid style, the magic that reveals itself in the everyday interactions of the two. Characterful subjects are always central to the images and a sense of the space that they occupy. I strive for simplicity in terms of composition and colour palette. I look for the seemingly random moments in the streets and beyond, capturing them, suggesting a story; but ultimately leaving it to the viewer to create their own narrative. I avoid heavily manipulating the image, preferring a filmic documentary style, with a sense of scale in the cinematic framing and flashes of vivid colour if the scene dictates it. I limit my lens choice to 35mm and shoot on digital, with recent forays into analogue film. I am currently studying for an MA in Socially Engaged Photography at University of Salford and working with communities to help them express themselves and examine their place in the world through photography. JOSEPH LEE be inspired Gallery // ARTIST'S STATEMENT // Central to my photography practice are people and environments - people in nature, people in the city and often people near the sea. My ambition for my work has always been to document, in a candid style, the magic that reveals itself in the everyday interactions of the two. Characterful subjects are always central to the images and a sense of the space that they occupy. I strive for simplicity in terms of composition and colour palette. I look for the seemingly random moments in the streets and beyond, capturing them, suggesting a story; but ultimately leaving it to the viewer to create their own narrative. I avoid heavily manipulating the image, preferring a filmic documentary style, with a sense of scale in the cinematic framing and flashes of vivid colour if the scene dictates it. I limit my lens choice to 35mm and shoot on digital, with recent forays into analogue film. I am currently studying for an MA in Socially Engaged Photography at University of Salford and working with communities to help them express themselves and examine their place in the world through photography. LOCATION Wales UNITED KINGDOM CAMERA Fuji XT3 CATEGORY street WEBSITE http://luckyjoesphotos.co.uk/ @LUCKYJOESPHOTOS FEATURES //

PICTORIAL STORY PICTORIAL STORY July 10, 2020 RESILIENCE Photography by Anwar Sadat Story by Karin Svadlenak Gomez Anwar Sadat is a Kenyan photographer whose vibrant scenes from his Kibera neighbourhood tell poignant stories — stories of community, of life's everyday joys and difficulties. Anwar (known by his artist name Sirdart) photographs both beautiful portraits of people in his community, and raw, in your face, street reportages. I interviewed him about life in Kibera. He wants us to see the oneness of people, their resilience, their hope for a better tomorrow, their willingness to take initiative, and their humble pride. Kibera is famous for all the wrong reasons, when there are so many good reasons the world should know about it. Kenyan photographer Anwar Sadat calls it home. He regularly sets out to take photos that show life in the largest slum in the Kenyan capital, Nairobi, in all its facets. Anwar's photos go beyond the skin deep. Yes, they show a hard reality, but also the many residents who live life with a purpose, strive for improvement, and have a positive outlook. Growing up there, he neither liked nor understood it. “I couldn’t wait to move out,” he admits. “But as I grew older, I began to understand and see the reality of the people of Kibera and just how hard they work to achieve something better for themselves and their loved ones.” It is this reality that inspires his documentary photos. Kibera, which in the Kinubi language means forest or jungle, started as a settlement in the forest outskirts of Nairobi, when the British colonial government allotted plots of land there to soldiers returning from service with the British Colonial regiment, the 'King's African Rifles' in 1904. Today it is the largest urban slum settlement in Africa, with population estimates varying wildly between approximately 170,000 to as many as a million people. Most of Kibera's residents live in extreme poverty. And although it is by no means the only slum in Nairobi, it is the most famous, probably for sheer size. AN UPHILL STRUGGLE Kibera's problems are many. The ground in much of Kibera is literally composed of refuse, and dwellings are often constructed atop this unstable ground. The environment is polluted from a lack of sanitation and waste management infrastructure, there is violence and crime, and residents often suffer from illnesses caused at least in part by poor nutrition and the inadequate hygiene facilities. Good work is hard to come by. There have been and continue to be many upgrade projects by Non-government Organisations (NGOs) and the nearby United Nations Habitat programme. Moreover, there are also many locally grown initiatives to improve the lot of the community's poorest. It is an uphill struggle. Sometimes, small accidents such as an overturned candle can lead to tragedy. In such cramped conditions, fires can spread quickly. Anwar witnessed such an event in 2019. Residents of a section of Kibera were left to count their losses as an early morning fire consumed all that they called their own. “I have seen instances before where the community of Kibera has come together to support each other during a crisis, but none of them were like this,” he tells us. “Fire can be a good slave but a terrible master. As terrible as it can be, it can never beat the spirit of the people of Kibera.” But amidst all that, life goes on. Anwar's photos show people living their busy lives, children going to school, a group of girls performing a dance. Every day, men and women wake up early, mostly small business owners, go to Gikomba market (a larger flea market) to restock. Most of these individuals run their business from Toi market, another flea market located on the outskirts of Kibera. Although Kibera has a railway station, most people take buses and the small and not altogether safe matatus (minibus) to get from place to place. HOPE People in Kibera are keen on education. Most education centres in Kibera are informal or not regulated by the government, but there are also some government run schools. At the Kibera School for Girls, which is run by a non-governmental organisation, they even hold mock United Nations leadership conferences, aimed at teaching girls about leadership and ways of finding solutions as leaders. The PCEA Emmanuel Education Centre in Kibera makes do with the most basic of resources. All except the youngest students share a classroom, and the teachers have to teach different levels simultaneously. And yet, they hosted an international day of literacy event in 2019, when Anwar visited the school. The teacher, Benson Arita, was trying to multitask between being part of the event and making sure lessons run as usual in class. The school received an honorable mention for its dedication to teaching. Basic necessities we take for granted are not necessarily available — things like sanitary towels for young women. A dance performance organised by a ballerina school in Kibera helped to raise awareness on children's talents and needs, while at the same time raising funds to purchase a three month supply of hygiene products for 1000 school girls. People find creative ways to deal with their needs. Sports are also a very important aspect of life in Kibera. “Mostly it’s a good thing because it helps keep the youth busy away from crime and drugs,” says Anwar. There are many sports associations and organisations. Few players make it to play for national or even international teams, although it is every player's dream to play outside Kibera. But facilities are rather limited. The best equipped basketball court in Kibera belongs to a secondary school. SELF-MADE Many initiatives to improve the lives of Kibera residents are homegrown. For example in the face of the current added difficulty of the global Covid-19 pandemic, which is especially hard to contain when people are living in such close proximity, some residents are using their initiative to deal with the crisis. Daniel Owino, a musician and music producer popularly known as Futwax by the locals, is using his talent, popularity and influence to sensitise his community. Kibera Town Centre is also stepping up the fight to raise awareness in the community on the necessity of protecting themselves and others against the spread of the virus. One of the more creative ways to encourage new initiatives is the annual 'Miss' and 'Mister' contest. The show focuses on promoting talent and nurturing leadership skills. All the contestants are trained for a one month period in modelling skills and leadership. The actual contest involves a fashion show where the contestants model professional wear, casual wear, traditional wear and evening wear. But the contest is much more than a fashion show. Contestants must come up with ideas that could help resolve some of the difficult challenges facing the people of Kibera. Judges — experts in different fields — select the winners based on how comprehensively they answer the questions and on their level of creativity. Mr. Kibera 2019/20, Dennis Andere, hopes to represent his people in the government in the next elections, to be held in the year 2022. And in the words of Miss Kibera 2018/19, Wendy Ojalla "If only the world knew better, Kibera would not be defined by structures, but by the beautiful people who live there." Her idea was to find ways of giving Kibera's handicapped people a voice and have a chance to discuss access to equal opportunities. Given a chance, Kibera's handicapped could acquire the livelihood skills to allow them to live independently. What Anwar wants us to take away from this story is that this is a vibrant strong community. "I have experienced love, care, friendship, family, humility and respect in Kibera. I have learned to always work hard even with no hope, because hope is not always there. Kibera is not a desirable place to stay, it is most often forgotten and neglected by the government development projects. But having lived here long enough, I believe in the power of a sense of oneness and the people's will to create a better tomorrow for themselves regardless of all the difficulties and obstacles." Where there is hope, there is initiative, and where there is initiative, there is a chance to overcome obstacles. This is what Anwar's documentary work shows very impressively. view Anwar's portfolio Read an interview with Anwar >>> Website >>> Instagram >>> The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>>

BOOK BOOK August 14, 2020 ISOLATION PORTRAITS Photography by Suzanne Phoenix Words by Melanie Meggs Late in March 2020 Coronavirus entered the common vernacular of Australians. Our borders were closed, and social distancing rules started, followed by the state government of Victoria closing ‘non-essential’ services. The places we gathered including pubs, clubs, festivals and sports were shut down. For Victorian photographer Suzanne Phoenix who is usually documenting live music and performances, festivals, street photography and daily life, her entire occupation ground to a halt. Spending the first few weeks in fear of who was going to die, and every moment being consumed by the virus, daily walks were a sanctioned luxury where Suzanne could go outside and be in nature. On one of her daily walks, Suzanne met people from two households who let her photograph them. A man seated in his driveway who volunteered that he hadn’t had a drink for ten days and a woman massaging a sick chook that was wrapped in a tea towel. These encounters gave her the idea to document local households if she was able to reach them on foot. Subsequently, Suzanne made a series of intimate portraits and the Project “Isolation Portraits” was hatched. The photographs were made starting on 18th April and capture households located in the Upper Yarra, an area of the Yarra Valley that finishes at the very edge of greater Melbourne. Safety precautions and social distancing measures were kept, and all photos of the households capture people just as they were in isolation, no one dressed up for their photographs. Suzanne’s project documents an eclectic community, including drag kings, cowgirls, families, and their many and varied pets. Photography for Suzanne has always been the love of her life, learning the importance of photographs from her family, especially her grandmother. “My Nana was terrible at it, always with a thumb over the lens, a shadow, or missing the subject completely,” Suzanne says fondly of her grandmother. “I now adore and treasure her photos, they are completely surreal, you couldn’t make these photos if you tried.” Photographing since before she was ten years of age, she got more serious about it around 2012. Suzanne is a self-trained photographer, learning through artist master classes with Stephen Dupont and being mentored by Kate Baker for several years. For Suzanne, this project was a way of re-engaging with her local community after a traumatic experience in 2019, when her trust was betrayed and it significantly impacted her connection with her hometown. “This created its own challenges and many conversations were had along the way, some that I would have preferred to have avoided. But it has enabled me to reconnect and reclaim my place in my community,” says Suzanne. Connecting with the people and places gave Suzanne access to lives that before Covid-19 she normally would not have had a chance to be a part of, and she saw new opportunities that could open the door for her to work in more depth with in the future. “I just asked people," she recalls. “I started with people I knew personally and people I knew via online relationships. As I carried out the project I would ask each household to make a referral of one person or family they thought would be interesting and interested. The experience was overwhelmingly positive and although it had its complexities, like any photographic project might have, it has been very rewarding.” Diversity and inclusion are always a priority for Suzanne as a photographer, and she struggled with this aspect of the project from a number of different viewpoints, as the Upper Yarra Valley is not a very diverse demographic from a cultural and linguistic background. Suzanne also wanted to include people who were not having a positive experience of isolation. Always conscious of the fact that the area has some of the highest statistics of family violence in Victoria, she knew that naturally the people in these situations were very unlikely to want to participate in the project. She was concerned along the way that she might not be able to appropriately represent the breadth of the experiences of the community. She created a framework for the project for herself and a brief for the subjects, which covered consent and Suzanne’s intention to produce a self-publication and an exhibition. “My desire was to release a magazine within the month following the completion of the work that would preserve everyone’s thoughts about this unique period of time as it was being experienced, rather than written about in hindsight,” she says. “I was adamant that every household would be included in the magazine and that no one would be left out, unless they opted out, which some did. This meant I needed to do everyone justice and create images that were both publication worthy and that the people were comfortable being made public.” From an artistic practice viewpoint, Suzanne’s preference is to work with a small camera and lens and getting up close to people, as she has a fascination for focusing on small details. The pandemic meant that she needed to modify her approach in this project, to keep her distance and use a large camera with a long zoom lens. Suzanne remembers the feeling of being alive, normal and grounded when she shot that very first portrait of the series after weeks of not photographing people. She photographed a total of seven households on that first day. Suzanne recalls being exhausted, “people wanted to talk, as for most in this project I was one of the few people who visited them at their home during isolation.” She wanted to try to keep her shoots to no more than half an hour, purely due to Covid considerations. Her process of arriving at a household, most of whom she had never visited before, and with people she had never met, making people feel comfortable and finding where to make the portraits, all in less than thirty minutes in retrospect now sounds a little crazy to Suzanne. Suzanne photographed more than 60 households in total and made a series of portraits that included more than 120 people and dozens of animals. Every household was provided with a selection of images and Suzanne’s preferences for use for their approval. Running alongside this, everyone was encouraged to write of their isolation experience. These texts were included in the magazine without any editing. Suzanne selected a quote from each person’s words as a highlight in the magazine and in doing so was very mindful of creating a prevailing focus or feeling of each person. Meeting all sorts of people, Suzanne learned a lot about their lives and heard stories of trauma and how isolation was impacting their mental health. At the end of the second stage of the shooting on 30th June 2020, she felt privileged to have so many households involved, but was quite physically and mentally exhausted. Through her photography Suzanne has a ‘knack’ for storytelling, her portraits have a quietness and secrecy about them, but at the same time they are dynamic and send a powerful message. When asked about this, Suzanne says that she respects people's privacy even when she photographs them, creating a safe space so they can show her something of themselves. “I think I see them, and they see me.” Consent is critical to Suzanne. She is skilled at meeting people where they are at, and sees herself as an honest, strong and confident person, which enables trust. As a result of this project, Suzanne’s personal relationships with people she already knew, or knew of, have deepened, and she has made a few new friends throughout this project. Ned, The Wobbly Wizard, stands out as someone who has enlightened and inspired Suzanne the most, so much so that she told him he was her new muse. At the time Ned was living in a tent in the forest and he certainly challenged her assumptions on COVID-19 being a more difficult time for those living in similar situations. He shared that the restrictions were making life better, he was not being moved on and hassled by people and could stay in one place. As he jovially told Suzanne, “finally personal space is in fashion!” Since that first shoot Suzanne has created nudes in the forest and river with Ned, a first for both of them. Without a doubt, Suzanne’s “Isolation Portraits” has proven to be a success. The first magazine was launched online as part of Yarra Valley Writers Festival and soundbite podcasts are being created in collaboration with YVWF also. All these outcomes help raise the profile of the small region of the Yarra Valley. “Ultimately,” explains Suzanne, “I wanted to document the lives of the community through this global pandemic for historical purposes.”Within a couple of months of its release over 100 copies of the magazines had been purchased by the local community and from people all over the world. All of the portraits have been printed as transparencies and exhibited in windows of four local businesses. Being able to exhibit these images, when all galleries are closed, is a rare opportunity and among the feedback Suzanne has received, people have told her that they feel like they are connected and can see their community again. The self-published magazines “Isolation Portraits 1” and “Isolation Portraits 2” by Suzanne Phoenix can be bought online through Suzanne's website. Suzanne is currently working on “Isolation Portraits” - Stage 3 while Victoria is in stage 3 and 4 restrictions. The Pictorial List will be thinking of all Victorians as they go through this tough time ahead. Stay safe. VIEW SUZANNE'S PORTFOLIO CLICK ON IMAGES TO ENLARGE The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team.