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  • DAMIEN GORET

    INTERVIEW INTERVIEW March 5, 2021 STREET POETRY Photography by Damien Goret Interview by Melanie Meggs As a journalist and passionate photographer, Damien Goret has an eye for the seemingly mundane moments that fill our days, from the poetry of a solitary walker to the graphic geometry of light on a sunny day. With his ability to capture deep blacks, pure whites, and all the shadows and highlights in between, Damien Goret's photography breathes life into everyday moments, freezing them in time and reminding us of their beauty. From natural landscapes to cityscapes, each one of his photographs is a unique snapshot of our world. “I think I've always had, more or less, a taste for photography. I love photography for a simple reason. It allowed me to bypass one of my great weaknesses, one of my great regrets: I am a bad draughtsman. I photograph as I would have liked to know how to draw. By projecting scenes, imagining lines. It is thanks to my work as a journalist that I learned to formalize my practice of photography, to be interested in the settings of a camera, to understand its logical workings.” IN CONVERSATION WITH DAMIEN GORET THE PICTORIAL LIST: Damien please tell us about yourself. DAMIEN GORET: I was born in Brest, one of the westernmost cities in France, 43 years ago. After living 10 years of my youth in Africa, I came back to live, settle, work and start a family in the Region of Brest. I now live in a small town 20 kilometres from Brest, called Plouarzel. Beyond Plouarzel, there is nothing but the sea, then the United States. TPL: Do you have a favourite quote, lyric, or saying that especially resonates with you? DG: In terms of photography, I really like this phrase by Ernst Haas: "I am not interested in shooting new things - I am interested to see things new. " I think it sums up very well the photos I want to make today. I am not looking for the spectacular, but in search of what is spectacular about everyday life, and that too often eludes us. TPL: Where do you find your inspiration to photograph? DG: I find my inspiration in the other. The other photographer, the other human, the other draughtsman, the other painter, the other director. TPL: Your street photography has this wonderful graphic feel to it. What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? DG: The street photo as I imagine it is a graphic image, yes. I always come back to these stories of shadows, of lights, two elements that alone draw a landscape, a geometry. I'm not very much inclined towards street portraiture. I really want to reveal things that we see every day without seeing them: the shadow of a lamppost on a wall; the shade of the trees on a sunny façade; a person's silhouette, more than the person himself. Because this is the third element necessary for street photography as I imagine it: it is a photo where the human has its place. I like the idea of the gigantism of cities that engulf men. TPL: What is it that you enjoy about street photography. What happens when you walk the streets with your camera? Explain your technique? Have you ever had a negative encounter? DG: What excites me is the spectacle that everyday life offers. Things I didn't see before. Places that I have traveled to thousands of times are open to me, one day, in a new light. Because that day, I'm probably more open to the world. Because, on that day, I probably did not know that I had passed this place at the same time as yesterday, and because the light of day makes me see things that did not exist the day before. I love this feeling, this feeling that nothing belongs to me, that nothing is fixed, that today will not look like tomorrow. Photography made my life exciting and allowed me to fight against my anguish of the passing of time, my fear of death. When I'm photographing, I'm stopping it, this time. I'm freezing life. It becomes, for a moment, eternal. TPL: What is it like photographing on the streets of France? Do you have any favourite spots in France and outside of France to go shoot? DG: I am a fairly sedentary photographer, but I work in a profession that leads me to move around a lot. It's a real chance, to spot places, geometries. I never go out without a camera. I live and work in relatively small cities, where I am obliged to be on the lookout. I mean: I guess doing street photography is maybe easier in Paris, London or New York. Photography made my life exciting and allowed me to fight against my anguish of the passing of time, my fear of death. TPL: What has been the best advice you have ever received in photography? DG: I think one of the mantras of the wonderful photographer Sean Tucker opened my mind to photography, and especially to street photography, which I now practice 90% of my time: "Embrace your shadows". There is nothing more beautiful than the shadows that come to cut out the lights and shape them. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? DG: Clearly, Fan Ho shook me up. Harry Gruyaert too. Among the more contemporary photographers, Sean Tucker inspires me by the elegance of his lines, the quality of his shadows, and the relevance of his eye. On Instagram, where I am a lot, there are also several photographers whose work always makes me think of a tennis player forehand, Tom Schippers, for the loneliness that floods his images; Kentaro Watanabe for his black and white and his sense of graphic design; Ingrid Clauwaert for the vastness of her cities engulfing men; Magali Kermaïdic, whose Brest origins I share but not her talent (laughs); and so many others... 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? DG: I am now working with the camera I dreamed of when I started in street photography: a Ricoh GR (the II, in this case). But when I started, I was photographing with an Olympus EM10 Mark II, which I loved. The Ricoh GR II is as I imagined it: a street photo killer. The nose-down of its optics is superlative, maybe even better than the Nikon D7200 that I own in SLR. Its snap mode is truly amazing, once you understand how it works. I just regret it's great weakness in terms of dust, with a sensor that is very sensitive to it. I've had it 3 months, I take great care, and it already has annoying dust specs on the sensor. This Ricoh GR II allows me to make street images that I couldn't have done as easily with my Olympus, let alone with my SLR. TPL: When you go out, 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? DG: I don't have any ideas when I go to photograph. Like I said, I always go out with my camera. When I see something that appeals to me, and if I have time, I stay put in a spot for 5 to 10 minutes and I wait: I wait for the event that I projected in this scene. Thus, I also have time to adjust my shooting, always in manual mode, to preserve my highlights, respect my shadows. Manual mode is important to me: I want to know everything about my photo, I want to master all the settings...except what will happen there! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? DG: When I “grow up”, I want to photograph like Tom Schippers 😉! I told him that on Instagram. I always look at his photos and regret not knowing or being able to make them! I would like to find the courage to exhibit my photos, but I remain someone quite discreet, who has a hard time feeling legitimate in what he does. There is a lot of shyness, and the impression, often, of being an impostor, of not deserving to see my photos recognized. I still judge them pretty badly, even if I like them. But are they worthy of "staying", of being seen...? I have no pretensions in that regard. To exhibit some of them would nevertheless be something I would like to do. TPL: "When I am not out photographing, I (like to)… DG: Play a lot of board games with my wife and children. I also ride a lot of road bikes. And when I'm not photographing, I like to look at the world as I would like to photograph it." Damien Goret's photography has a way of making us pause and recognize the beauty of everyday moments. His photographs capture the poetry in the mundane, the stunning geometry of light, and the vibrant colors of our world. He has an eye for beauty, and his work shows it. If you want to appreciate the world in a way you've never seen before, view more of Damien's work. VIEW DAMIEN'S PORTFOLIO Damien's 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.

  • LEROY FONG

    I have a great passion for street photography. LEROY FONG be inspired Gallery // ARTIST STATEMENT // I have a great passion for street photography. LOCATION SINGAPORE CAMERA Canon 550D, Samsung S9 CATEGORY street @LEROY.FONG FEATURES // Street Practice

  • SAMUEL IOANNIDIS

    Since my youth, I have loved taking photos and experimenting with different perspectives. In 2016, I bought my first real camera, an old Fuji X-E1. I didn't know at all what I wanted to photograph...I just wanted to experiment. I have been passionate about street photography since 2017. I started to take pictures of my surroundings because I was curious about the world around me. The streets became my classroom, and they led me to places I would have never found otherwise. I love discovering hidden gems in the city and sharing my adventures with others. This is how I want to tell my story. SAMUEL IOANNIDIS be inspired Gallery // ARTIST'S STATEMENT // Since my youth, I have loved taking photos and experimenting with different perspectives. In 2016, I bought my first real camera, an old Fuji X-E1. I didn't know at all what I wanted to photograph...I just wanted to experiment. I have been passionate about street photography since 2017. I started to take pictures of my surroundings because I was curious about the world around me. The streets became my classroom, and they led me to places I would have never found otherwise. I love discovering hidden gems in the city and sharing my adventures with others. This is how I want to tell my story. LOCATION Nuremberg GERMANY CAMERA Fuji X-E1 and Fuji XPro 3 CATEGORY street, abstract, architecture WEBSITE https://streetsight.de/ @SAMUEL.IOANNIDIS FEATURES // The Curiosity Gap

  • INDIA'S LOST CHILDREN OF POSTMODERNISM

    PICTORIAL STORY PICTORIAL STORY June 9, 2023 INDIA'S LOST CHILDREN OF POSTMODERNISM KUSHTI Photography by Jayesh Kumar Sharma Story by Karen Ghostlaw Pomarico Jayesh Kumar Sharma is a trained and educated artist and photographer, receiving a Bachelor of Fine Arts (2012) from the Institute of Fine Arts, Varanasi, who lives and creates important work in India. His earlier interests in painting began to shift to the medium of photography. The different processes around the medium interested Jayesh, and he found them to be the directive to nurture the inspiration in his visual storytelling. Coming from a small village in rural India, close to the city of Banaras, sheltered Jayesh from current affairs of the so-called ‘Modern World’. Jayesh moved to the city of Mumbai, inspiring him to explore many of his country's diverse regions encapsulating the wide range of cultures and traditions. These formative years of investigation led Jayesh to a world of discoveries. His travels made him aware of the myriad changes Jayesh saw sweeping across his country. Jayesh became aware of social struggles and challenges, sensitizing him to the many traditions, rituals, local sports, crafts, that have been lost forever. Jayesh shares his revelation. “The onslaught of Modernism and relentless modernisation are not only spoiling our earth but our age-old way of life through which we have been deeply connected to the earth, to ecology, to the very soil we continue to live on. To me this has been a tremendous loss and I feel we are losing these things forever. This primeval connection once gone, will alienate us forever.” Jayesh was brought back to his beginnings as a child, looking closer at his own traditions and understanding how and why they began. “Since childhood, I have been inculcating a habit of storing and collecting things, with some rudimentary idea of preservation, be it personal or traditional. Kashi, also known as Varanasi, is an ancient city in India and perhaps the only city in the world which has had the same running cultural practices since over 2,500 years is a city which influenced my formative years. I was inspired to experience and document the nature of human society and its varying beliefs, and to capture my thoughts and present my own formulations and understanding of the same through photography. My family influence has been traditional, and in my own journey of life I have experienced many changes around me. In this fast pace of progressivism somewhere the very structures of human society are being greatly affected, much is being irretrievably lost, and all this is happening so fast. My work has been infused and coloured with these influences – both exciting and sad at the same time.” Jayesh’s photography is driven by the impact of nature and the ecological contemporary situation of human life. It fuels the fire for critical and creative thinking, awakening Jayesh, inspiring him to share his independent thoughts as he embraces traditions and cultures of his country through his visual storytelling defined through his photography. “Photography is a medium that helps me to connect with myself. Amongst all my faculties, I feel that the one I find most developed and the one that I can use most creatively is the visual, so I found a way to express my thoughts in a straight way through photography. I think that photography is on the best footing among all those inventions through which you can work to inspire and awaken the ideas of nature and the relationship to the human condition in society.” Jayesh admits photography is more of a process than a profession for him. Jayesh firmly believes that for an artist to truly develop and create new work, they must be allowed failures, they must struggle and search their souls and go through the work, to understand the inspiration. Jayesh finds meaning and inspiration in a quote from Marcel Duchamp. “I believe art is the only form of activity in which man, as man, shows himself to be a true individual, and is capable of going beyond the animal state, because art is an outlet towards regions which are not ruled by time and space.” I asked Jayesh, what inspired the concept for his project Kushti? How did he approach producing the series? “The social and cultural changes taking place in the society became the concept of my story, In which I have made a poignant and valuable contribution. Varanasi is a very ancient city, where thousands of years of traditional activities helped form the society here. This creates a platform of visual storytelling with a direct outlook of social awareness, while remaining an intimate story about culture and traditions. Disturbed by our decreasing interest in traditional arts, I became more inclined to bring new attention to these fading traditions that once defined our culture. I am involved in an effort to document the few remaining traditional arts. I have a personal connection with each story, making my connections and observations genuine and authentic. Keeping myself personally invested in the story helps me shape my visual storyline. In this project it is Kushti, the ancient form of wrestling, that I am exploring and documenting. I see it dwindling rapidly and know it will disappear within the next few years. The education imparted in childhood affects not only your character but also the character of the society. Wrestling (Traditional Wrestling) is one such medium which has played a great role in the character building of the society, it is one of the ancient arts with a history of 2500 years. This is a practice which is not just about physical prowess but places equal emphasis on the disciplining of the mind - in that sense it is a kind of yogic practice. The wrestlers were an integral part of their communities and received both financial and emotional support from the larger community as this practice was treasured as an morally important practice. In this sense the wrestlers were not just sportsmen but were upheld as men of exceptional honour. The practice becomes not only about the physical, i.e. building the body and strength, but also significant to an individual's personality and one's very soul of being. I came face to face with this unique art/sport form many years back in Varanasi when I was a university student. Wrestling is the first traditional art which made me aware of the ending of many contemporary practices. I met Anurag Kanoria of Nine Fish Art Gallery for a photographic project almost a decade ago and was amazed to find him also speaking about these lost traditions and specifically Kushti too! We had long discussions on the subject of these dying arts and what we as art practitioners could do to intercede or record them before they vanish. He was a mentor and helped me pursue this and other similar projects. In a sense, it was a happy meeting of minds. We have since been working on other projects too. The entire process has been a long one, spanning over 6 dedicated years. As this has required my involvement with a rather closed culture, it took me almost 3 years to be accepted into the ‘fold’, so to say. Over those initial years, I involved myself in the inner lives and ways of the wrestlers. As they began to shed the first layers of suspicion at my presence, they slowly began to allow me to bring in my camera. Many of the frames that finally saw the light were already formulating themselves in my mind and when I could finally click it was an exhilarating experience. These Akhadas are usually very dark places and shooting inside has always been a challenge. Many of the exercises done by the wrestlers are very early in the morning, even before the sun has risen. It took a lot of experimentation from my end to get these images to where I felt they best depicted an accurate story. My purpose was not just to document in only an academic or anthropological way, but also create aesthetic pictures that have more meaning, embodying the soul of the tradition while embracing culture and community. It was this balancing act that I have found most fulfilling.” Jayesh’s project Kushti was just exhibited at MIA Photo Fair in Milan. Jayesh’s Gallerist Niti Gourisaria from the Nine Fish Art Gallery, Mumbai, sets the stage and premise for his story. “India stands in a rather strange space vis-à-vis Modernism and postmodernism as its own particular issues with nation building are layered intensely and intricately with its own myriad, complex and often conflicting civilizational sub-histories. The advent of photography in India happened more or less at the same time as it did in the West, but while its technological history paralleled that of the West, Indian photography had its own variations and interests and these local concerns have also consumed Indian photographers. While in the West much of the interests of photographers over the past hundred odd years was the obsession with change and modernity and the pressing need to capture the new, Indian photographers have, in light of their own experience of the modern, been shy of highlighting their own community histories of thousands of years, except through the same problematic ‘colonial’ gaze. As India strides exuberantly into the next decades along with the global world it carries with it its checkered local histories of marginalized peoples, cultures, practices, and rituals which are losing ground and identity, and will probably vanish forever in the next decade at most. These are ‘The Lost Children of postmodernism’ to coin a term, and their worlds need to be recorded for posterity and documented for remembrance. Jayesh spent six years photographing the dwindling practitioners of Kushti, an ancient style of traditional wrestling which is dying out. Now it has few takers and is gasping for survival as the lure of international style wrestling and India’s recent glories in that style of sport have attracted most young practitioners. The old mud arenas found almost in all villages, where generations practiced together, are all empty now. Kushti was not just a sport but a philosophy of life and the almost monastic lifestyles and disciplines that the young had to take on, are no longer attractive. These old gymnasiums, known as ‘akhadas’ are largely silent and wear a forlorn and extremely run-down look and the same look is often reflected on the faces of its last few practitioners.” Jayesh’s journey did not stop here. He began an insightful exploration into the subject of ‘Leela’. Leela is a local folk street theatre, acted and played out by young children on the banks of the Ganges once a year. It is peculiar to Banaras, an enriching cultural event he has been attending every year for quite some time. While observing how it is losing ground in popularity and support, Jayesh became more and more concerned that the day is near that it will cease to exist, ending a run of almost 450 years. Jayesh explains the directive behind this work. “Leela is one of the most ancient folk theatre forms in India. ‘Leela’ usually depicts the major events that took place in the life of a significant personality whether real or mythical - an avatar of God (i.e. Lord Ram, Lord Krishna, Lord Narsingh) or even a revered saint or hero. The connection of the audience with Leela is much stronger than in any other theatre form because they know the narrative and deeply identify with the hero and his story. The audience can themselves become actors in the performance as they play the crowd scenes for the theatre. It is strongly believed by the Leela lovers that the actor playing the Lord Ram(or any other God) is not a performer, but rather a God himself for that period of time. Most of the Leela performances are out in the streets or public places. The history of Indian folk drama (Leela) has originated and developed from the storehouse of Sanskrit texts (written and oral) in India. Indian folk drama is deeply rooted in Classical Sanskrit theatre, and is an important component of popular culture in Banaras. This particular traditional Leela showing the tale of the childhood of Lord Krishna is performed by young children and every year with a new cast. Records show that it has been performed continuously since the last 450 years. It is also performed in the neighbouring districts of Banaras. I have started shooting it recently but I would like to explore this further and document the same. I am particularly interested in the interaction of these child artists (who otherwise lead everyday regular lives) with the performative space of the Leela which is created to depict the sacred realm. This performative space is temporal as it is at a very crowded public place, wherein the crowd moves aside and watches the actors perform, then closes in again as the actors move on. Interestingly the play’s various scenes might be often enjoyed by a shifting audience, as not all follow the actors around the city as the play unfolds. Deeply conversant with the story of the play, it is easy for the audience to simply enjoy the part performed before them and then move on with their own lives. This transitional and highly temporal spaces of theatre overlapping so casually with the daily lives of the audience is a fascinating act in itself.” Growing up in the ancient city of Varanasi has given Jayesh an unique and authentic perspective. He has witnessed the rapid changes that his generation is being subjected to, including the deep sense of loss and disconnect that begins to filter out memory, and begins to adulterate received identities. Jayesh is concerned that the changes are too rapid and the records of what is vanishing, too thin. Jayesh wants to dedicate many more years in exploring the formations and erasure of cultural identity and memory. © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma © Jayesh Kumar Sharma We leave you with some last thoughts and a quote from Jayesh: “It is said that change is the law of nature, and that change has become a part of my nature. Changing the world means changing the experience of seeing the world, it does not mean that you will leave the real world and go to the world of dreams, I make my pictures with this stream of focus. My job is to know what is the truth or reality, but this depends on what your point of view is.” We thank Jayesh for his time and insight into their fascinating traditions. We wish them much success in their documentation and illumination of these dying cultural ways of life and character building traditions. You can experience Leela through Jayesh’s critical eye, and respectful perception on our website in his portfolio series, ‘Theater of the Ever-Living Gods’. He has been awarded for his brilliant contributions to photography and exhibits internationally. Follow his links for even more inspiration. view Jayesh's portfolio Jayesh is represented by Nine Fish Art Gallery >>> Featuring forgotten India with ‘Kushti’ and ‘Leela’ at MIA Photo Fair 2023 Milan >>> Fotografia article >>> Jayesh's 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. 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.

  • MARILENA FILAITI

    INTERVIEW INTERVIEW November 11, 2022 AWAKENING INSTINCTS Photography by Marilena Filaiti Interview by Karen Ghostlaw Pomarico Marilena Filaiti is living proof of the importance that photography can make in your life. It was an enlightening experience for Marilena, giving her more understanding of herself and the world she exists in. Born in Johannesburg, South Africa, Marilena's father worked for the United Nations and was appointed to work in Africa where he lived with his wife for eleven years and where Marilena was born. They returned to Greece when Marilena was four years old, and her mother was pregnant with her brother, who was born in Athens. Both of their parents had a cosmopolitan upbringing. Marilena’s father, a descendant from the Egyptian Greeks and her mother from Istanbul, with a lineage of Greek descent, felt it important to pass their culture and heritage to their children. Marilena fell in love with the man she then married at a very young age and they soon started their family, a value important to Marilena, a legacy from her Mother. Caring and parenting three children created a demanding life that challenged Marilena, taking on many different jobs along the way to help make a good home for her family. Marilena ultimately took a job that gave her exposure and a chance to learn about marketing utilizing specialized multimedia tools that related to photography. These tools and their applications gave Marilena the inspiration to take up and explore the “Art of Photography”. Fascinated by Photography, she bought her first camera and started experimenting with her new tool, it wasn't long before she entered her first photography contest and was hooked. She decided to penetrate the world of photography and learn as much as she could. Her first teacher, Tolis Chatzignatiou, inspired her first steps and for three years he supported Marilena's development as a photographer. Tolis Chatzignatiou taught Marilena the principles of photography and how to clearly choose for herself what she wishes to include in her frame. She made many educational trips with the photographic group “Routes”, even getting close to her father's birthplace, an experience powerful for Marilena. Marilena was thirsty to learn more and more about photography, to go deeper and deeper, to be able to create meaningful photographs of her own. Marilena wanted to expand her knowledge and understanding of photography and immersed herself in photography workshops led by Lukas Vasilikos in October 2021. He has been an excellent teacher and mentor to Marilena, guiding her in her search within herself to find what she wants to express, while exposing her to new ideologies, working with his direction to create powerful sensational images that have much meaning. This motivating and influential experience gave birth to Marilena's first solo project, AWAKENING INSTINCTS, through which Marilena shares her insightful presentation of her project and her photography. We wish her much inspiration in her quest to create powerful intimate images that speak from the heart. “For the first time I saw my work complete. I continue today to grow personally and as a photographer by studying with Lukas. He keeps pushing me to work on new projects that allow me to express myself. Less need for words, more opportunities for visual inspiration.” IN CONVERSATION WITH MARILENA FILAITI THE PICTORIAL LIST: Marilena, tell us about Athens and what life in Greece has brought to your work AWAKENING INSTINCTS. We see how important your family members are to your work, tell us what inspiration they bring to this collection MARILENA FILIATI: Greece is a unique country worth visiting. Athens is a city with its beauties and its difficulties. Like all over the world, the pandemic touched us here, where photography became an excellent outlet for me. The pandemic directly connected the project with my inner world. Many photographs were taken in different parts of Greece during this period. There is nothing more important to me than my family and my home. My friends are also family. My teacher Lukas Vasilikos urged me to dig deeper and express photographically how important my family members are to me. TPL: Tell us about this project, Marilena; how it came about, what you were looking for, what you finally discovered. What surprised you? MF: When the workshop started, I had no idea what the outcome would be. Step by step we started to build this project gradually through the course of the study cycle. When I saw my photos on the wall I was impressed. I didn't know this side of myself. The most important reason besides my love for photography is that I don't have to talk too much with my images. That's how I've wanted to express myself for the last few years. I was surprised by the result because I finally managed to have a meaningful conversation through this project. TPL: You told us how important your teacher here was to you for this project, how you worked side by side. What were his influences on you, what were the gifts he gave you. What was his role as you created this project? MF: Master Lukas Vasilikos is an experienced and inspiring photographer himself, quite strict with himself but with unlimited patience and acceptance for his students. This characteristic of his allowed me to be inspired by him and many world photographers. Lukas also dared me to express myself freely and personally during our classes. He led me through the photographic process accepting and correcting any technical difficulties I had, while supporting me to move forward to my personal artistic identity through paths I admit, I didn't know I could take. TPL: There is depth in your shadows, creating intimate spaces for your subjects. Tell us about these shadows, darkness and what they represent in your photographs. MF: Within those shadows are important gifts of awareness. I like to create new worlds; escaping from reality. I like after instinctively creating them, to revisit my works as a viewer and have them transform into new stories. I listen to my silence and find the peace of mind I seek. TPL: Your colors are deep and saturated, adding to the depth of space and creating thought provoking connections to your subject matter. Tell us about the role color plays in these images. MF: I originally worked mostly in black and white and through my work with Lukas, I discovered color. I saw color as a tool for individual expression. It transformed the world around me into something else, something colorful, something much more dreamy, lyrical, focusing inward, allowing me to express my deeper self. Saturation is a medium that transports me to these other worlds. The bright color seems fake to me and does not represent my own reality. TPL: When you began this journey of self discovery, where did you start? Why? MF: I started this journey of self exploration with themes familiar to me, close to me, subjects accessible to me, so that I could venture deeper to see them in another dimension. an imaginary transformation of them. Thus my one son was transformed into a creature of my imagination, he effortlessly played this role since he trustingly allowed me to create another reality by "rebirthing" him through my photograph. My daughter, seen through another gaze that perhaps she herself did not initially accept, as the unconventional realistic image that she was, but she quickly realized how redemptive the freedom of a different gaze is. My little son, who grew up through our collaboration, agrees that the result has rewarded us both. My friends showed me the same trust by posing and allowing me to play freely with the lens. I like to create new worlds; escaping from reality. I listen to my silence and find the peace of mind I seek. TPL: What new discoveries have you made while doing this project? Has this project been completed? MF: Expression itself is a great discovery for me who doesn't like words much and is more of a sensory person. That is to speak through a medium that I share with so many people, even globally, and to “say it all” through the common language of the Image. My work has now become synonymous with my existence and as I evolve, it will evolve too. Each new experience I experience motivates me to 'lock in' the moment. Our lives are made up of moments. TPL: Can you recall that defining moment when you understood how to use photography to create what you wanted to say or see with your eyes, heart and soul? When you photograph, how much is instinct and spontaneity programmed? Do you pose your subjects? MF: When I realized that photography was a love for me and that I could express through it whatever I was hiding inside, I decided to leave my job to follow it in whatever path it took me. Because of my love for photography, I decided to only work in the field professionally. There is absolutely no programming in the way I photograph, I work on impulse and instinct, I ‘shoot’ non-stop even if I don't have a camera at that moment. Of course this requires one to have acquired a solid technical base and to have incorporated it. I would say my impulsiveness has gotten me into trouble at times. However, when I work as a professional, I try to listen to the needs of the subject matter but always through the freedom of my personal view. TPL: What are the lasting impressions you want to leave on the viewer, what is their 'Take Away'? What was yours? MF: I have no intention of leaving a lasting impression on the viewer. Everyone is free to make whatever impression they wish based on their reading. I wish to converse and evoke emotions. My takeaway is to have a photograph I see speak to me. TPL: Does the equipment you use help you achieve your vision in your photography? What camera do you use? Do you have a preferred lens/focal distance? MF: So far it has been adequate. Currently I have developed a need to try even more sophisticated gear. I am on a quest. Initially I was shooting with my mobile phone. Then I was accompanied on my journey by a Nikon D3400, a Panasonic Lumix DC Vario with which I also shoot with in water, a Canon EOS R, and I have a collection of analogs, mostly old pieces. I've been trying different lenses and haven't settled on a recommended one yet. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MF: This journey is a journey of freedom for me. It's a journey that matters, the destination of which I myself will know in five years. MF: “When I don't go out to photograph, I like to... I like to travel, drive, walk with my friends, read and often enjoy my ‘solitude’.” We would like to take this opportunity to thank Marilena for her time and insightful presentation of her photography. We wish her much inspiration in her quest to create powerful intimate images that speak from the heart. VIEW MARILENA'S PORTFOLIO Explore more of Marilena's Awakening Instincts >>> 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.

  • DOMESTIC WASTELAND

    PICTORIAL STORY PICTORIAL STORY February 25, 2020 DOMESTIC WASTELAND Photography by Vin Sharma Timon Story by Karen Ghostlaw Pomarico The urban spaces of New York City changed significantly during the Global Pandemic. Sidewalks once filled with pedestrians not afraid to knock elbows with a friendly smile, became vacant solitary spaces where distance was mandated and the masked smile became the ‘New Normal’. As spaces once open for public use began to close, more restrictions were imposed and city dwellers had to adapt to these changes. Everyone deals with change in different ways, some finding it more challenging than others. For Vin Sharma Timon, one particular day marks the beginning of her photographic documentary ‘Domestic Wasteland’. An authentic portrait of a family and their personal journey. It is a visual diary of the minutes, hours, days, weeks, months, they shared, and how that strains the best of relationships. Vin depicts with complete candor the emotions and feelings her family confronted and had to learn to manage in new and difficult times of uncertainty. I asked Vin to paint a picture of what it was like at home prior to the restrictions and confinement of the Pandemic. What was the ‘New Normal’? What was a day in the life of the Sharma-Timon family like on any given day before the pandemic. “I often wonder what the norm was before the pandemic. Or if there is such a thing. Sometimes we feel like your typical Brooklyn family. We have a pet, we walk everywhere we need to go. We are a mixed race family and we encourage our children to be open. Normally, we stop to chat with our neighbors and are thankful for the local bodega. We have books in every room, we have a quaint stoop for outdoor people watching. We dance in our kitchen and manage to share our evening meals together.” Vin may have had trouble describing ‘Normal’, but she easily depicted what was normal and what was not! Sometimes this is the best way to understand change. “I know what the norm was not. Before the pandemic, It was not dreading getting out of bed every morning. It was not crying late at night with an empty bottle of wine (or two) in a bathroom with the lights turned off. It was not binge watching reality shows on a Monday evening, ordering cases of evaporated milk and toilet paper. The norm was not wiping down groceries (I did this) and ordering 50lb bags of flour because suddenly, I became a bread maker. In the last 23 months, I have baked bread twice and refuse to discuss sourdough starters. Though I still dance in my kitchen with my children.” Vin found one change in their living patterns and daily routines and customs to be perhaps the most profound. Once real connections were made with physicality, playing, hugging, touching. These connections are now made virtually, where an image on a screen replaces the hug, and is the hand you hold. For Vin, “The norm before the pandemic was not being separated from extended family members, unable to visit them, unable to grieve with them. Suddenly, our local friends and our neighbors became a lifeline.” Vin remembers this day, “March 16th, 2020, was the day I began documenting life at home with my family. NYC schools officially closed their doors due to the global pandemic and our lives were hurled into an abyss of madness. Lockdown, shelter in place, quarantine, remote learning - these became commonplace concepts in an ocean of uncertainty.” These new daily living adjustments are not small and insignificant, but require much patience and diligence to practice. A family must find the resources to help establish new processes and routines. Combine this with different personalities and the dynamics of relationships between family members, it can create an atmosphere of frustration, and agitation leading to discontent. Vin shares with us her genuine experience and thoughts during this time. “Sometimes, I don't like my family. Mostly I love them, even admire them. We are a group of four who have become so intertwined in a very complex way during the last 33 months. What has happened during this time? Need I ask? The pandemic paved the way for puppies, plants, kitchen gadgets and a complete loss of self. I have become so wrapped up in the lives of my family, that I no longer understand where I fit in. I observe, I record. Yet I am not in the frame. My perceptions are there, stamped on every single moment, but the visual sense of 'me' is absent, except in the way I perceive the people closest to me.” Vin’s story investigates feeling lost and alone even when surrounded by people. Like a super colony, it is hard to move or think independently. For every action, a reaction. Like a pebble cast in water, the ripples spread far and wide, affecting far more than the spot it dropped. Loneliness can be experienced in many different ways as Vin describes the beginning of her day. “Waking up, placing our feet on the ground and beginning the walk that leads us to the day is no longer a mundane routine. It is a feat of greatness, an act of courage. Anything more than that is a bonus.” Vin shares her honest opinion, thoughts that are not always nice, but unavoidable when confronted with the intricacies and complexities of ‘Shelter in place’. “It cannot be normal to live with the same humans every minute of every day, every week, every month, every year. With little relief. I am so tired. We are all so tired. Yet, within the uncertainty, there is a deep appreciation for life and for contemplation.” Another huge adjustment Vin and her family had to make was remote learning, new home schoolers. Confronted with a new set of challenges, their home became their new schoolhouse. “Our entire apartment functioned as a school room. Literally, Brooklyn apartments do not always offer families the generosity of indoor space. I have seen our bathroom floor serve as a reading space, wiped the kitchen table down after a science experiment, seen my 12 year old check in for attendance from the comfort of his bed. I’ve watched my 9 year old, lying face down on the floor with an open laptop, her camera off while eating lollipops for breakfast. Welcome to pandemic schooling.” Roles in the family changed, one day Vin was a mother, the next day she was a teacher. Her children were just siblings, playing and quarreling like siblings often do, until the school day began and then they became classmates. This brought new complexities and challenges for her two young children. Vin tells us what it was like for her, and her children transitioning between roles. “Becoming a teacher and managing remote learning was a disaster. ‘Shitshow’ is the word that comes to mind. The constant questions of ‘when can we meet for a zoom call’? became tedious. Sure, anytime is a good time because everytime is a bad time. No certainty of schedule, no idea about how many apps would be required in order to read a single day’s homework, no clue as to how to connect with peers. No one hated remote learning more than parents and guardians who stayed at home with their little people, all day, every day. As classmates, my children were either embracing each other or screaming at the top of their lungs. We did our best to give them space and a chance to take a break when they needed to. Who knows what the long term effects of remote school are.” In the middle of the chaos, there is the rock, the sound of reason. When everything is going wrong, there is always one person that stands in front of the fan, catching all the debris. This was her husband’s role. For Vin and her family, he was the person they relied on to keep the peace, to mend any fences, and to be the voice of reason in a time that seemed to have none. “My husband’s role was honestly much the same as it always was - a source of support, a foundation. He really does insist that he carried on much the same way as before the pandemic. Interestingly enough, I agree with him. The only major change was that we somehow reconnected. We had begun to rely on our own separate schedules before the pandemic, busy with our own activities - him with his work and, oftentimes, me with the children. The pandemic offered a change to that, as well as presenting us with a challenge. For the first time since our first child was born, we were thrust together in close quarters. It has been a simple connection that we somehow lost along the way.” Life changed for Vin and her family, but these changes brought some unexpected connections. The table has become an important place for the family during the pandemic. Vin and her family now share their table embracing the importance of this simple but intimate gesture, of sharing food, nourishment, and family conversations. Vin talks about the ‘value of silence and reflection’. I asked Vin how this applies to their time together during confinement. What did Vin and her family learn, what was their take away as a family? “Before the pandemic, we were always busy. There was always something to do, somewhere to go, someone to talk to. Now, that value of silence and reflection has become meaningful, not to mention essential. Particularly when it’s applied to our sense of well being. What was once taken for granted is now sought after - moments of quiet, time to sit and read a book or pick up a real newspaper, time to enjoy nothing but being present. Taking the time to accept the value of being alone at times. In terms of how this all applies to our time together as a family, it’s allowed us to trust each other. It’s given us time to allow for individual space, to respect personal boundaries and to help each other without having to speak. An embrace, a kiss on the cheek, a squeeze of the hand - I have learned how wonderful and heartfelt these gestures can be and how much more important they are now.” What is the reflection that helps them move forward? “We move forward as we have been the last two years - one day at a time. Doing our best not to rush, not to worry. Which of course, is nearly impossible when you are living through a pandemic. Most of all, I am confident in accepting that we need each other. I need the people I love. My family needs me. We are connected and that connection extends to friends who I miss terribly. I miss the kisses on soft cheeks, I miss the warmth of my friend’s arms and the sound of their laughter in my ears. We move forward with the promise that new kisses, new embraces and new found laughter will be waiting for us. As the story continues to unfold, I find myself holding on to a tremendous love of life and all that we hold dear. What was once mundane is now a point of interest. What we took for granted is now in the spotlight. This is an unraveling of our collective domestic wasteland.” © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma © Vin Sharma Life continues, and so will the Sharma-Timon’s stories. The obstacles along the way will be hurdled and they all will cross the finish line one day. For the Sharma-Timon family, it is the journey that will create the landscapes of their future, and make the connections that will last a lifetime. view Vin's portfolio Read an interview with Vin >>> 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 >>> 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.

  • BASTIAN PETER

    BASTIAN PETER be inspired Gallery // ARTIST'S STATEMENT // I am street photographer living and working in Basel, Switzerland. Growing up within my family's mask making atelier in Basel, an early curiosity developed surrounding what lies beneath any facade. Storytelling in many forms, especially photography and cinema, would fuel my passion for narrative and point of view. Without professional background, I picked up a camera and started walking the streets, on the lookout for an interesting scenery. With a growing interest it feels natural for me to explore my city. I am drawn to the use of colour, perspective and light as a vehicle for emotion and storytelling. In my country, Switzerland, the genre of street photography is not established as a form of art yet. In Autumn 2020, with four other swiss photographers I created the first collective in Switzerland for street photography - the Swiss Street Collective. LOCATION Basel SWITZERLAND CAMERA Sony a5100, Sony a6100 CATEGORY street WEBSITE https://www.bastianpeter.com/ @BASTIANROMANPETER FEATURES // What Lies Beneath

  • GINO RICARDO

    INTERVIEW INTERVIEW August 12, 2020 ARCHITECTURALLY COMPOSED Photography by Gino Ricardo Interview by Melanie Meggs Gino Ricardo is a motion graphic designer with a passion for pattern and a curiosity for exploration. But it wasn't until June 2019 that he decided to take his camera to work with him on a daily basis and explore the city during his lunch breaks. What started as one hour lunch break sessions quickly blossomed into weekend excursions, documenting the architecture and street photography of places unknown to him. As he ventured around the cities he visited, Gino found comfort in being alone and taking pictures of the exquisite buildings he encountered. It was then that he realized that his camera didn't have to just collect dust on the shelf; it could be used to capture the beauty of the world. Thus began Gino's journey of discovering the wonders of the world through his lens. “I started photography about a year ago. In September 2018 I bought a “serious” camera (Panasonic GH5 ) to film my three week trip to South Africa. The camera was bought with the intention to film my South Africa adventure and future trips and on occasion take pictures. After the trip I felt like it was a waste of money that the camera would just sit at home on a shelf collecting dust. At one point in 2019 I started to take my camera to work and use my one hour lunch break to take pictures. Before I knew it photography became a bit of an obsession.” IN CONVERSATION WITH GINO RICARDO THE PICTORIAL LIST: The way you see architecture is not the usual way people would see it - graphic and composed precision. How do you find the composition when you are searching for that shot? What are some of the elements you try to include to make a good architecture image? And what do you do post-process? GINO RICARDO: Thank you very much for the compliment! When shooting architecture I always look for lines, patterns, details, textures, reflections and shadows in a building. Sometimes I see a building and know what I want to shoot and how to get the result I want. Other times it comes down to trial and error. I try different compositions and angles, from long to medium to close ups. Trying to find a way to make the work click. A lot of times I visit the same place multiple times and take the same shot in different circumstances or discover a new vantage point. I like to keep my images simple. I do some post-processing. It begins with setting a building straight and cropping. Usually I bump up the contrast and make the shadows darker. Sometimes I dodge and burn some elements in my images, and on occasion I Photoshop little imperfections out of a frame. For instance a spec of light that is drawing attention in a scene where I don't want the attention to go. But usually I try avoiding this and keeping the image as authentic as possible. TPL: You also shoot street photography and include them among your architecture photos in your Instagram gallery. Do you do anything differently to how you shoot and compose your architecture shots? GR: In street photography I mostly look for light and shadows. The difference between street and architecture is that for street I am solely relying on sunlight. So when it is raining you won't see me taking any street photos - unless you have beautiful reflections. For architecture I photograph all the time, it doesn’t matter if it rains or the sky is grey. I still need to learn a lot about street photography and keep developing this. To be honest, street photography is a side hustle. Mostly I go out to get my architecture shots and then switch to street afterwards or when I see something interesting happening. The difference between street and architecture is the pace. You have to be on your feet and think fast. A moment is gone before you know it. In that moment you have to be able to take the picture or try another time. A lot of times I see good light and wait a bit for something interesting to happen. This can be a minute or ten. Architecture is slower paced. I can walk around a building and observe it and put more thought into what I want or what is interesting. TPL: Where is your favourite place to photograph? GR: For now my favourite place to shoot is in Rotterdam, Netherlands. I am always surprised by the new places that I see and am looking forward to new spots to discover. TPL: Has your style of photographing changed since you first started? GR: Yes definitely, I started with photos from my holiday and then started going to the city to practice my shooting. Shooting street and architecture. During this period I noticed that I like black and white architecture photography more. I also started to shoot more often with zoom lenses to get those detailed shots/close ups. First I used my 45-200mm zoom and after a while my girlfriend's 75-300mm lens. Also my images became a lot darker. The best images aren’t at the end of an expensive flight. They are just around the corner from your house if you are willing to take a walk and really see. - Sean Tucker TPL: Do you think equipment is important for achieving your vision in your photography? What would you say to someone else just starting out? GR: I think that the camera is just a tool, nothing more nothing less. The typewriter never wrote a book, but the writer did. The same applies for a photographer. Having said that I really like the system that I have, the portability of the body and lenses are just great in terms of weight. When hitting the streets I have two lenses with me and that is it. Making it very easy for me to travel with. For someone who is just starting out I would advise them not to look to much at the specs of a camera but just start shooting. These days technology is so advanced that any camera you buy as a beginner will be a good camera. Use the time when you are beginning to discover what you like and develop yourself. Keep in mind that your needs can change over time as you develop as a photographer. If you can’t afford a camera in the beginning start with your phone. TPL: Do you have any favourite artists you would like to share with us, and the reason for their significance? GR: I definitely look up to photographers like Alan Schaller and Sean Tucker, Sebastiao Salgado, Fan Ho to name a few. I think that I got heavily inspired by Sean and Alan. I really like the philosophical side of Sean’s work and ethics and the super dark moody tones and diversity of Alan's work. I also get inspired a lot by other photographers whom I discovered through Instagram. I also follow artists like Lindsay Adler, Platon, Maarten Rots, and David Yarrow. Their work is so different from my own. I think that it is a must to keep an eye out for other artists who have absolutely nothing to do with your own work. Giving you a fresh perspective. TPL: Have you ever been involved in the artistic world before photography? GR: Yes, I am a 2D animator/motion graphics designer. TPL: Are there any special projects you are currently working on? GR: Yes, I recently created my first book and made a video about it. I would love to go back out and travel to London, Paris and discovering some other countries. But due to COVID-19 this is pretty difficult. Time will tell when this is possible again but in the meantime there is lots to discover in my own town and country. And in the upcoming weeks I am going to create a short film. TPL: If I wasn't photographing what would I be doing?... GR: Animating and designing for animation. Gino Ricardo's story is a testament to the power of exploration. His unique perspective and passion for photography has allowed him to capture the beauty of the architecture around him. His journey of discovery has been inspiring and his work is a reminder of the beauty that can be found around us. We can all learn from Gino's example and find the courage to explore our world through our own personal lens. Use the links below to view Gino's work and gain some inspiration. VIEW GINO'S PORTFOLIO Gino'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.

  • JASPER TEJANO

    Jasper is a calm and collected street photographer who has built a name for himself in street photography and whose works have been recognized and featured by various local and international publications both online and in print. His street photography started as a result of reaching a plateau in his creative growth. After exploring various genres in photography, he discovered the works of Magnum photographers Henri Cartier-Bresson, Alex Webb, David Alan Harvey and Harry Gruyaert. Their style of documenting the world blew him away. In 2012, in part thanks to their inspiration, he started seeing the world through a different lens. Since then, street photography has become his genre of choice. When he is not out there practicing street photography, he is wearing his corporate HR hat or doting on his son giving the little tyke basics on photography or simply enjoying his cup of coffee with his wife and creative partner, with his camera in tow just in case. JASPER TEJANO be inspired Gallery // ARTIST STATEMENT // Jasper is a calm and collected street photographer who has built a name for himself in street photography and whose works have been recognized and featured by various local and international publications both online and in print. His street photography started as a result of reaching a plateau in his creative growth. After exploring various genres in photography, he discovered the works of Magnum photographers Henri Cartier-Bresson, Alex Webb, David Alan Harvey and Harry Gruyaert. Their style of documenting the world blew him away. In 2012, in part thanks to their inspiration, he started seeing the world through a different lens. Since then, street photography has become his genre of choice. When he is not out there practicing street photography, he is wearing his corporate HR hat or doting on his son giving the little tyke basics on photography or simply enjoying his cup of coffee with his wife and creative partner, with his camera in tow just in case. LOCATION PHILIPPINES CAMERA Olympus OM-D E-M10ii, Ricoh GR2, iPhone CATEGORY street WEBSITE http://www.jaspertejano.onuniverse.com @JASPERTEJANO FEATURES // Creative Focus

  • CITY OF IMAGES

    EXHIBITION EXHIBITION October 16, 2020 CITY OF IMAGES Photography and words by Karin Svadlenak Gomez For the third year in a row, the small town of Baden near Vienna has become an outdoor photography gallery. Billed as the largest European photography festival, the exhibitions are spread all across downtown Baden's streets and parks. In times of the Covid-19 pandemic, there could not be a more ideal setting for a "museum visit" than to stroll around in the open air, enjoying the outstanding photography and the greenery, stopping in between for coffee and cake in one of Baden's many coffee houses. I visited on a warm September afternoon, when people were still lounging about on picnic blankets and in outdoor cafes. Baden is a small town just 26 km south of Vienna with a long history as a spa town because of natural thermal springs in the area. Architecturally the old part of town is also very pretty, featuring villas and buildings built largely during the Biedermeier period, after a fire in 1812 destroyed much of the old city. Because of the hot springs and the woods surrounding it, it has always been a popular destination for recreation seekers coming from Vienna, including the imperial family. In the 19th century, a railway connection was built to Vienna, making it easily accessible for thousands of Viennese, and this connection is still running today. The tram-like Badner-Bahn makes it from the Vienna Opera to downtown Baden in about an hour. But apart from the pleasant hiking, walking, and bathing opportunities, once a year in the summer, the city itself becomes a work of art. The photo festival La Gacilly-Baden turns Baden's already quite pretty streets, squares and parks into a veritable feast for the eyes. The Baden photo festival is now in its third year, originated by Lois Lammerhuber, one of the most important contemporary photographers in Austria, as a twin exhibition to the one held at La Gacilly in Bretagne, France every year. In La Gacilly, this photo festival has been celebrated since 2004. The photos shown in Baden are those shown in La Gacilly the previous year. This year's motto in Baden is "Never Give Up" - could there have been a better title for an exhibition in this pandemic year 2020?! The motto includes two narrative circles: “Renaissance” and “All Eyes East”. Renaissance or rebirth stands for the commitment and awareness of the exhibiting photographers to dedicate their work to our planet, but also for hope: the hope for change, for a better world. The view towards the East (East from Europe, that is, and also the political "East"), refers to the remarkable creative turnout of contemporary photography in Russia and former Soviet Union states. The displays of the exhibition provide insights into the diverse and historically rich east of Europe. With a plea for peace, tolerance and togetherness, the two festival narratives are visualised by 31 photographers, a photography collective of the Lower Austrian State photography guild and 13 schools. There are 2000 photographs on display, and I can show only a small fraction here. The French festival originator Jacques Rocher is the son of Yves Rocher, who managed to create a global cosmetic brand with organic products with his company based near the village of La Gacilly. Back in 2004 Jacques Rocher realised his idea of a photo festival in La Gacilly, dedicated to the subject of people and the environment. "Major environmental and social challenges lie at the heart of the La Gacilly Photo Festival and have shaped its programme for 17 years now, raising awareness and enlightening the world through the photographer’s lens," says Jacques. The exhibited photo series have a strong humanistic orientation, showing humans in their home environment, but also showing the impact humans have on earth, often in quite disturbing ways. The images are a socially relevant merging of artistic photography and photojournalism. Apart from the high quality artwork and the topical interest, the photo festival is so delightful because of the way the art is integrated into and interacts with constructed and natural elements of the city. A tree shadow falling on a building-sized photograph, filtered sunlight illuminating exhibition paths, and coffee shops and picnic spots throughout the city, from which the viewer can admire the photography and take in the special ambience at leisure. To see all of the exhibitions takes several hours, and so it is a good idea to take it in small doses and return, a second, perhaps a third time, to absorb it all. The festival extends over a length of 7 kilometres, divided into a “garden route” and a “town route”, so you had better put your walking shoes on. Embedded into the lovely rose garden, right next to the Orangerie at Doblhoff park, are amazing large reproduction of colour photographs taken in tsarist Russia. The rose garden itself is also worth a visit during the flowering season, with some 900 species of roses blooming at different times. Apart from the work of well established photographers, the festival also makes room for contributions of some emerging talents in partnership with Fisheye Magazine. This initiative is showcasing new photographic output on the theme of New Frontiers. There are also works of local amateurs from Lower Austrian schools and from the guild of photographers on view. One of the homegrown contributions to the festival is the exhibition DU BIST KUNST. Using the hashtag #dubistkunst (you are art), an Austrian art TV programme (kulturMontag) teamed up with renowned Austrian art museums and called on photographers to join with their creations. A set of quirky reinterpretations of classic masterpieces is exhibited in Doblhoffpark. Think Gustav Klimt, Egon Schiele and co. The photo festival La Gacilly-Baden is on view until 26 October 2020. It is open air and free of charge to visit. For anyone in or around Vienna, or near the original location in France, I highly recommend a visit. You will be astonished, impressed, saddened, delighted, and amused. VIEW KARIN'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.

  • WILDCATS WINNING WOMEN

    PICTORIAL STORY PICTORIAL STORY March 26, 2021 WILDCATS WINNING WOMEN Photography and story by Neville Newman Introduction by Melanie Meggs When the first whistle blew on the field to mark the start of the Hamilton Wildcats Australian Rules Football match, little did anyone know that it would be the start of an incredible journey for Neville Newman. For over several years, Neville has been the official photographer of the Wildcats, capturing moments of joy and celebration from the passionate female football team in Ontario, Canada. From the highs of wins and the lows of losses, he has been there with his camera, documenting every single moment. Neville's role as photographer has been an essential part of the Wildcats' family. In winter, Neville spends his time in the darkroom, shooting and developing black and white film, while in warmer months, he concentrates on shooting 'footy'. His work brings out the character of each player and the unique spirit of the Wildcats. Neville has an impressive story to tell about his journey with the Wildcats and we are lucky enough to have him here with us today to share it. So, let's join him on his incredible journey and get to know more about the Hamilton Wildcats Australian Rules Football club in Ontario, Canada. While Canada and ice hockey are synonymous, thanks to the efforts of Australian expats and their Canadian converts, ‘Footy’ (Australian Rules Football) has established an enthusiastic following with a thriving league in Ontario, teams all across the country and internationally represented from both men and women. I began shooting the Hamilton Wildcats as the club’s official photographer in 2016. Whilst the men’s team has been in existence for thirty years, the ladies only formed a team for the first time in 2012. For that and the following four years they would win a Grand Final berth, but be denied the flag. In 2017, things altered dramatically. With two influential players overseas in Australia and other team changes, the ladies were the recipients of the 'wooden spoon' (an award that is given to an individual or team that has come last in a competition). The ignominy was short-lived, however, and the Wildcats came back strong the following season, laying a foundation that would propel them to team history in 2019 when they took home the flag. In 2016, as I began photographing the team, there was no way of knowing that the following year would be a washout, a year that in retrospect only served to instill new determination in the team that would pay off with the 2019 flag. But all that was in the future. The team would make the Grand Final in 2016, but would not take the ultimate prize. 2018 just felt different. The ladies put the disappointment of the previous year firmly in the rubbish, and the team oozed confidence. There was a sense that they were in a rebuilding mode at so many levels. Every win is a celebration, but the renewed energy was shining through as the victories started to follow each other. Determination was the watchword throughout the buildup that began in 2018. It was a matter of contesting, no matter the odds. It was a psychological battle too. Every game was a reminder of defeats they had suffered the previous year. Although the ladies’ season ended with a semi-final loss that year, the disappointment would act as a spur in 2019 when they took home the first flag in the club’s history. Teamwork, having your mate’s back, is what successful footy is all about. It is also about taking advantage of the slenderest opportunities when they become available and making space where none previously existed. The club is a welcoming mob for new players. In 2018, Kendal Wales joined the crew having become smitten with footy when she left Canada to attend university in Australia. She brought her enthusiasm and effervescence to the side as it rebuilt and quickly became a stalwart. In 2019, her perseverance paid off as she was one of the team that lifted the flag. The social side of the club is as much fun as the footy. Awards nights, jumper presentations and alumni evenings are always a bunch of laughs. I like to catch some candid moments and the combination of good spirits and good tucker gives me some excellent opportunities. The Wildcats' ladies team might only have a nine year history, but the club has made its influence felt in Australia too. Lia Vansevenant demonstrates typical Catters’ determination as, unfazed by this looming attack from Etobicoke Lady ‘Roos Victoria Baran, she successfully disposes of the footy. After spending the following year in Australia, she came back to be part of the club’s new era where she is the team’s coach. © Neville Newman She’s small but she’s mighty. Michelle Grynberg shows the emotion that infused the team in 2018 as she challenges Selina Amaral of Etobicoke’s Lady Roos for the footy. Nothing was going to stop her getting her hands on it even though she was outnumbered. © Neville Newman Lise Kiefer, with the footy, driving through a gap while Gabriela Arias shepherds away a threat from the opposition exemplifies the way in which the ladies’ team created the conditions in 2019 that resulted in them taking the premiership. © Neville Newman Along with the ecstasy must go the agony. Like any other club, the players have their share of injuries. No one could know at the time though, that this 2018 injury would signal the eventual end of Emily Spicer’s playing career. She came back from this one, but the damage was done. In early 2019 a torn ACL put her on the sidelines again and ruined her chances of being in the winning side. She has decided that her playing days are over, but once a Catter, always a Catter and the club will see lots more of her in different roles. © Neville Newman 2018 saw Lia Vansevenant back in the side after a year in Australia where, among other achievements, she represented The Northern Lights, Canadian women’s team, in the 2017 International cup. Always a fierce competitor, she is an integral part of the team and its leadership. © Neville Newman Don’t argue. Aware of an impending tackle attempt, Wildcats’ Kelli Gruhl performs her own brand of Richmond AFC’s Dustin Martin’s fend off on Etobicoke Lady ‘Roos’ Jenn Minchin. The move attitude symbolises the club’s attitude as they worked their way through 2018 and then stormed up to the 2019 Grand Final. © Neville Newman The club is a welcoming mob for new players. In 2018, Kendal Wales joined the crew having become smitten with footy when she left Canada to attend university in Australia. She brought her enthusiasm and effervescence to the side as it rebuilt and quickly became a stalwart. In 2019, her perseverance paid off as she was one of the team that lifted the flag. © Neville Newman Ainslie Pope’s story is now a club legend. She came to Hamilton from Australia in 2019 as a participant in a teacher exchange having never played footy in her life. She was introduced to the team and decided to give it a go where she played as if she had been born on the oval. From starting from nothing and eventually playing in a Grand Final winning team. How good can that be? Here, Ainslie lays a textbook tackle on Ottawa Swans’ Andrea James. © Neville Newman After playing against each other hard all afternoon in the semi-final, Wildcats’ Lia Vansevenant and Swans’ Kylie Marie advanced on each other for a little extra-curricular activity. Another Swans player acted as peacemaker to keep them apart. © Neville Newman Kendra Heil on the left, one of our former players now living down under, plays for Essendon in the VFLW women’s league and is part of their leadership team. Drafted by Collingwood originally, she suffered two torn ACL’s but her determination is beyond dispute, and her quite frequent return visits to awards' ceremonies here are a continuing source of inspiration to the club. Lia Vansevenant is drinking for both of them here. © Neville Newman Jacqueline Josephine, who spent a year in Australia with Lia Vansevenant, is the subject here, hamming it up a little as she sees me focusing on her. © Neville Newman Acknowledgements: Lia Vansevenant; Victoria Baran; Kelli Gruhl; Hailey Jones; Michelle Grynberg; Selina Amaral; Lise Kiefer; Gabriela Arias; Emily Spicer; Jenn Minchin; Kendal Wales; Jacqueline Josephine; Kendra Heil; Ainslie Pope; Andrea James; Kylie Marie. view Neville's portfolio Read an interview with Neville >>> 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 >>> 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.

  • ADRIAN TAN

    I vividly remember that one special moment when I first stumbled upon photos of candid human expressions and stylish contrast street work of some of the best photographers out there. The thought of capturing moments whilst playing with light and composition elements hit me. I'm Adrian, a passionate street photographer living in Singapore. Fascinated by the playful shadows and intentional blown out highlights of Trent Parke's photography and the aesthetically brilliant work of Thomas Leauthard, I headed out to the streets with an old camera in hand and never stop learning. ADRIAN TAN be inspired Gallery // ARTIST STATEMENT // I vividly remember that one special moment when I first stumbled upon photos of candid human expressions and stylish contrast street work of some of the best photographers out there. The thought of capturing moments whilst playing with light and composition elements hit me. I'm Adrian, a passionate street photographer living in Singapore. Fascinated by the playful shadows and intentional blown out highlights of Trent Parke's photography and the aesthetically brilliant work of Thomas Leauthard, I headed out to the streets with an old camera in hand and never stop learning. LOCATION SINGAPORE CAMERA Olympus EM10 and Fujifilm X-Pro2 CATEGORY street, fine art @ADRIANO.RH FEATURES // Harmony of Contrasts

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