INTERVIEW August 20, 2021 BEYOND THE STORY Photography by Christina Simons Interview by Melanie Meggs Award winning international documentary photographer Christina Simons has been committed to discovering stories and sharing them with others using her camera. Part American and Icelandic, now residing in Australia, Christina is a true citizen of the world speaking multiple languages, and having worked in the visual arts industry for over twenty five years, she is a technical master of imagery. With a passion for justice and compulsion to observe, Christina has stuck through the highs and lows of independent work to produce personal projects she is truly proud of. Her commitment has led to series such as THE HAITI PROJECT on children in domestic servitude, Women’s health in the Philippines and Aboriginal Education in Australia; not to mention her solo-exhibition and multi-award winning series RUNNING TO NOWHERE on Central American Refugees. Her curiosity of subcultures has produced projects such as award winning series DERBY GIRLS and multi-award winning series LIL' BULLFIGHTERS of Mexico. Christina's work traverses many interests including travel, lifestyle and portraiture and is represented in publications such as The New York Times and The Guardian UK as well as working with several NGOs such as Medicines Sans Frontiers and UNICEF. So it is with great honour we speak to Christina about how her journey into photography began, her inspirations and experiences, and how she feel compelled to use her work to tell the stories of those who do not have the means to do so themselves. “I try my hardest in all my stories to ensure my opinions and judgments take a back seat to the story itself. I try to remain impartial and tell the story as it presents with no projections on my part. It’s really important to me to try to do this because it’s from this place I gain a deep holistic understanding of what is happening. I want the subject (person) to feel unguarded and unjudged and feel able to share as openly as possible what is really happening for them. Likewise, I want the viewer to experience an untainted perspective and to form their own opinion. This is not to say that I don’t have an opinion of my own – it is to say that I don’t want the subject or the viewer of my work to be impacted by my opinion.” IN CONVERSATION WITH CHRISTINA SIMONS THE PICTORIAL LIST: Christina please tell us a bit about yourself. CHRISTINA SIMONS: I was born in Seattle, WA and went to grade school in Milwaukee, WI but spent between 3-5 months of nearly every year of my life in Iceland until I was 16, when I went to boarding school in Colorado from the ages of 16-18. After I graduated high school, I left the US and moved to London to attend Central St Martins and then Ravensbourne University. My parents relocated to Iceland at that time, so that has since become the ‘home’ that I visit. When I graduated with an honours degree in Visual Communication Design I went on to work in film and television post production for 5 years, promising myself that when I worked out what I really wanted to do with my life, I would quit post production to do that! I moved to Australia in 2001 to work on the Ned Kelly film and when that wrapped up, I made the jump to photography. I did love working in post production but after spending a few years behind a computer monitor working on other people’s images, I realised that what I really wanted was to make my own. TPL: What was that moment that sparked your interest to pursue photography as a profession, and in specific documentaries? CS: My first camera was a Polaroid camera that I got for my 10th birthday - I loved the magic of freezing a moment by simply clicking a button. Not long after, my cousin introduced me to the darkroom. He told me that he had ‘magical photographic paper’ and that he would show me how it all worked but to ‘NOT open the paper until he had time’ to teach me. Of course, as soon as I got a moment alone with it, I opened the packet and saw nothing but blank white paper! I flicked through the pages and nothing happened, so I put it back feeling quite disappointed. A few days later my cousin came to me furious, asking if I’d opened it. The magic paper had given me away as it had all been exposed to the light that I’d let in, rendering it un-magical. He was very annoyed and told me he couldn’t show me the magic because I’d ruined it. Not to be dissuaded, I took photography classes and electives all the way through school, high school and my university studies. It was like a constant thread that had weaved its way throughout my life – but for some reason I ignored the quiet voice inside me that told me photography was actually what I wanted to be doing. I only really listened to that voice after I’d left university and spent 5 years working in Post Production; when the quiet urge to become a photographer had become a loud and painful longing. My late American father was a doctor who specialised in clubfoot corrective surgery for children. It was he who influenced my humanitarian interests. He travelled the world for conferences and to give lectures, often taking us with him so we could learn about other cultures and countries. I feel that I can attribute my passion for travel, exploration and human connection to these early trips. When I was about 12 years old, my father received a thank you card from a man living in a leper colony in India. The man had asked someone else to write the card for him as he’d lost his fingers to the disease. My father had corrected his daughter’s clubfoot without charge. The man was deeply grateful that his child had a chance at a normal future and could provide for the family. My father wept as he read it to me and in that moment, I understood that making a positive difference to one person can profoundly impact those around them. I am not an academic person - becoming a doctor like my father was never on the cards for me, so it is with my camera that I try to interpret the world we live in. I feel compelled to use my work to tell the stories of those who do not have the means to do so themselves; to convey their hopes and fears. TPL: Talk to us about some of your other projects. For you personally, why are making these photographs important? What do you want viewers to understand through your images? CS: I’m a deeply curious person. I want to know and understand the world around me at a deeper level than what I can see on television or the internet the ‘why’ and ‘how’ of their world better. I want the firsthand encounter to be able to answer my own questions about the cultures, anthropology and the psychology of people I photograph. I sometimes think perhaps my photography is secondary to this desire. I have the privilege to gain access to and meet some very unique people in my work. I feel that it’s my responsibility to ensure that the stories I am entrusted with are told with honesty and integrity. I think with this privilege I get to see and hear things many others don’t, so I do my best to try to expose stories otherwise undiscovered and frequently misunderstood. I try my hardest in all my stories to ensure my opinions and judgments take a back seat to the story itself. I try to remain impartial and tell the story as it presents with no projections on my part. It’s really important to me to try to do this because it’s from this place I gain a deep holistic understanding of what is happening. I want the subject (person) to feel unguarded and unjudged and feel able to share as openly as possible what is really happening for them. Likewise, I want the viewer to experience an untainted perspective and to form their own opinion. This is not to say that I don’t have an opinion of my own – it is to say that I don’t want the subject or the viewer of my work to be impacted by my opinion. For example with my Little Bullfighters series – if I had approached this story with critical judgments of what they were doing I would have learnt and seen very little. I went in with curiosity and an open mind to fully understand how and why they were training to become bullfighters at such a young age. I then felt that sharing those images with the same impartiality would provide people with opinions across the spectrum to engage with the series more openly. Sondos Qur'aan praying inside Masjid Al Noor mosque in Christchurch, New Zealand on Friday the 23rd of August 2019. © Christina Simons. Shot for the NY Times. Children attend Uighur language school in Gilles Plains, Adelaide, South Australia on Saturday the 23rd of March 2019. The students and their mothers celebrate their participation in an international Uighur community competition called Uyghuryar. © Christina Simons. Shot for the NY Times March 2019. Bimbi, 70, lives with her daughter Maria Majo, 40. Together they look after her granddaughters Ellen, aged 6, and also named Ellen, aged 2. July 2019. © Christina Simons. Shot for UNICEF to promote the benefits of a positive parenting program. Tobia’s grandchildren help her peel potatoes from the garden. Tobia has six grandchildren that she cares for in her home in the mountainous region of Chimbu, PNG July 2019. © Christina Simons. Shot for UNICEF to promote the benefits of a positive parenting program. Salvador, aged 6, sits on his bed in anticipation of witnessing the afternoon bullfight at Plaza de Toros Mexico. Behind him are several ribbons, each symbolizing a bull dedicated to him by his matador heroes. Salvador's family is wealthy and are staunch Catholics. They believe God will protect him from any harm. © Christina Simons. From the series ‘Little Bullfighters’ a personal project. Shot in December 2015. Cristóbal Arenas Moncayo is 10 years old: “To fight a bull is something beautiful, there are a lot of emotions…adrenaline, excitement and the danger is always there. As a torero you are always afraid but this is normal, it makes you stronger and helps you to take control of your fear…from that point you move ahead.” © Christina Simons. From the series ‘Little Bullfighters’ a personal project. Shot in June 2016. Sixty-nine year old Patricia poses proudly with photos from her days as a Pin-up model. She has lost the ability to hear, speak and see out of one eye due to beatings she sustained. Patricia resides in Casa Xochiquetzal, a retirement home in a dilapidated Spanish casona in one of Mexico City's roughest barrios. The Casa is named after the Aztec goddess of sex and love and its residents are retired sex workers. © Christina Simons. From the series ‘Casa Xochiquetzal’, a personal project. Shot in Mexico City, June 2017. Normita, aged 82, sits on her bed where her stuffed teddy bear also rests in her bedroom in Casa Xochiquetzal, Mexico City, June 2016. © Christina Simons. From the series ‘Casa Xochiquetzal’, a personal project. Shot in Mexico City, June 2017. Angelica dances to live music. Angelica is still actively working at the age of 55. She is the only transgender woman living at Casa Xochiquetzal, Mexico City. April 2017. © Christina Simons. From the series ‘Casa Xochiquetzal,’ a personal project shot in Mexico City, June 2017. Anthony Bourdain © Christina Simons TPL: What kind of difficulties have you encountered as an outsider when working on your documentary projects? CS: I think the biggest difficulty I’ve experienced is the language barrier. I speak some Spanish but when I need to understand nuance, subtlety and more complex concepts and vocabulary, I’ve been let down! The consequence of this has been that I now travel with someone whose English is better than my Spanish so that things don’t get lost in translation. Likewise, when I’ve been to countries like Papua New Guinea it’s absolutely vital that the translator I’m working with can speak both languages fluently so that I don’t misunderstand anything. I still spend time chatting to people but I make sure that when I’m recording someone’s account of their experience, I use a trusted translator so that I don’t miss anything. Another difficulty I face is reluctance or fear. Sometimes, the people I’m speaking with are too frightened to talk to me or let me photograph them. In fact, that is quite common. I don’t necessarily think it’s due to me being an outsider, more so me being a photographer. I think this would be the case if I was a local photographer as well. I have had people lie to me, like the lovely women at Casa Xochiquetzal, a retirement home for sex workers in Mexico. Their truth isn’t always something they want to expose. I discovered that for some, lying enabled them to hide a deeply traumatic story while for others, it was pure entertainment! That can be hard and frustrating as it means I can’t use the story they’ve given me, although I think in this particular case it was pretty understandable. I mean, who am I to them but a privileged white woman who has appeared from nowhere to ask them about the sordid details of their lives? I totally respect that sentiment - it is a strange position for them to be in and all I can do is hope that the telling of their story through my photographs results in a valuable and positive outcome for them. Ultimately, my work was to be used in a fundraising campaign for the casa, so I hoped that my work could directly impact their daily lives. TPL: Your work ranges from photojournalism to portraits of celebrities and food, how do you define yourself as a photographer? CS: I primarily consider myself a documentary reportage photographer and visual storyteller. I focus on humanitarian issues but I also am really fond of exploring human behavior within sub-cultures and/or groups of people who have underreported interests. I love working as a photojournalist for the New York Times and other news groups. Within both of these genres I shoot portraiture so shooting celebrity portraits isn’t much of a leap. When I first started out as a photographer, I got a job with a food and hospitality magazine in which I photographed portraits, food and lifestyle imagery. I had always set my sights on documentary photography but especially in those early days, that work did not pay the bills. As the documentary and photojournalistic work picked up, the commercial work petered off. There was a time where the only way I could support my projects was to shoot commercially. I still take on commercial work when it comes along as I enjoy doing it, but I mostly identify with storytelling through imagery and that is what most of my clients hire me for now. TPL: What are some of your best and worst memories as a photographer? CS: My ‘on the job’ happiest moments are when the people I’m photographing and I find connection - something that ties us together, a recognition of our humanness, our alikeness, no matter how unlikely that might seem. It's in these moments that both of our defences come down and our more authentic selves show up. Then they are no longer the subject and I’m no longer the photographer, but a friend. In that place, we create the storytelling together. Building a rapport makes a difference with celebrities as well. I remember shooting Anthony Bourdain after he’d worked a shift at Fenix restaurant in Melbourne, Australia. My colleague and I were second in line to photograph and interview him after his shift - he was tired and didn’t want to be there. Ed Charles, the writer, began asking him what his least favourite food was and he said: ‘Icelandic rotted shark’. Ed and I laughed and told him that I was in fact Icelandic and this started a great conversation about his travels in Iceland and the food there. Then we discovered that we had both fallen in love with Laos and its people. This shifted the whole vibe of the shoot from him feeling annoyed and standoffish to finding mutual ground to bond over. I was no longer a photographer and he was no longer a celebrity - we were just people hanging out having a good conversation. Another highlight I can recall was in October 2019, when I opened a huge exhibition at the Museo de Arte e Historia de Guanajuato in Mexico with Médicos Sin Fronteras (Doctors without Borders) on my ‘Running to Nowhere’ series which focused on the plight of refugees in contemporary Central America. The show contained nearly 100 pieces from this body of work. It was exhibited in a space of 1000m2 and it was stunningly curated by Israel Arenas with the vision of the viewer experiencing some of the intensity that the refugees experience. It was grander than any exhibition I could have ever imagined for my work and an incredible moment to have hundreds of people and press at the opening. In that moment, the stories I worked so hard to share were seen and heard again and again by thousands of people. I returned home feeling that if I never held a camera again – I would have felt complete satisfaction with what I’d achieved. Of course, I still feel that deep satisfaction, but the exhibition was meant to travel to the United States and then Covid occurred. The Central American refugee plight endures and so I still feel compelled to continue to press on with the series. *Editor's note: Read the Pictorial Story "Running to Nowhere" by Christina via the link below. The darker moments have been moments that have come from experiences where I have felt that I was in danger or that those around me might be at risk. The first time this happened was when I was in Haiti in 2006. We had met a man pretending to care for the street children who had previously been ‘Restaveks’ (children given or sold into a life of domestic slavery). We interviewed a few kids living on the streets who told us this man had sexually abused them. This man was directly connected to the gangs in the slums of Port au Prince. He had weapons and a lot of support. He knew where I was staying and continued to try to contact me. I won’t go into any deeper details, but I felt scared for myself and for my fixer who lived there and had a family there. That stuff stays with you long after you leave and takes time to settle psychologically. It takes less time for me now but frightening and stressful moments whilst working have happened on a few other occasions. I see it as a part of the job I have chosen to do and the stories I choose to cover. It is a choice and I wouldn’t change a thing. So I’ve learned to manage it with self care and time out. It is with my camera that I try to interpret the world we live in. I feel compelled to use my work to tell the stories of those who do not have the means to do so themselves; to convey their hopes and fears. TPL: Did you have a mentor? Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? CS: I’ve never had a mentor...no...but I’ve had several people who have believed in me and supported me on my journey and to whom I'm extremely grateful. I have a lot of favorite photographers but my all time favorite photographer is Sebastiao Salgado. I feel that when I look at his work it reaches into me, it captures my feelings, my heart and I am deeply moved – his are some of the most beautiful and touching images I have ever seen. I love the greats like Mary Ellen Mark, Sally Mann, Werner Bischof, Saul Leiter, Alex Webb, Diane Arbus, Elliott Erwitt, Josef Koudelka, Vivian Maier, Rene Burri… etc. There is a lot of new talent and imagery out there now. The more people I encounter on Instagram the more blown away I am at the talent in this world. TPL: Do you prefer to work in black and white or colour? Do you spend a lot of time editing? What is your process? CS: I prefer black and white but I always shoot in colour even if I feel the series works better in black and white. I prefer to convert the colour files to black and white in post-production. I like having the ability to control the way the colour is converted, so I never shoot black and white in camera. By editing if you mean image selection – I’d say yes, I labor over what the best image is and which is truest to the story. Especially if it’s a series, then it’s about which images work best together as a cohesive story. But if you mean retouching – no, I don’t retouch my images. As a documentary photographer and photojournalist I only apply contrast and manage saturation and exposure tweaks. I might darken the corners/edges and if I need to convert to black and white, I will do that. However, when I’ve worked commercially, retouching is a totally different story! TPL: The past year and a half has been tough on many artists. How have you been feeling through this time, both personally and as a photographer? CS: The mantra I have chanted in my head over and over is that I am not alone and I am not the only one going through this, the whole world is faced with this crazy awful circumstance. Melbourne, where I live, has endured a total of 6 months in hard lockdown. At times it was really hard seeing people on social media in the rest of Australia living life and doing normal things, but I know that in the rest of the world people were struggling much more than we were. I’m fully vaccinated now, so in theory I’d like to take on work overseas again, but Australia has made it very difficult to get back into the country, so we’ll have to wait a bit more to see. Meanwhile, I am pursuing local stories and assignments. I teach photography one day a week at a private university and in that I find inspiration and joy – being able to share what I love about photography. I feel we are really very lucky to have a safe and comfortable place to stay in our lockdown in Melbourne when many other people had a terrible time and experienced terrible circumstances. I was able to get a few jobs during this time as an essential worker, working within the media for the New York Times to photographically report on some of their stories. For example, the Times ran a pitch that I sent them on the Melbourne public housing high-rise towers that went into a snap hard lockdown in 2020. The people in those towers had no warning of the lockdown. The buildings were suddenly surrounded by hundreds of police and residents had no idea why. It was really traumatic for a lot of the residents, some of whom had come from war-torn countries where they had been traumatized in the past. Many families had young children in small two-bedroom apartments with up to 8 people living in them, it was not at all well managed by the government. The residents had no time to prepare for this and they had a really tough time. Of course, none of the residents argued that a hard lockdown was unnecessary, but the way it was implemented caused much angst. In fact, it was found by the Victorian Ombudsman that the North Melbourne public housing lockdown breached human rights. The colourful girls of Derby World wait to start their bout. © Christina Simons. From the series ‘Derby Girls’ Shot for the Big Issue in January 2011. Two Roller Derby girls fly through the air as they crash into each other during a bout. © Christina Simons. From the series ‘Derby Girls’, shot for the Big Issue in January 2011. Eight month pregnant Sonia with one of her two daughters Daniella, age 11. Sonia grew up within the gang world and knew all the members in her neighbourhood. Her partner, a MS13 member and the father of the unborn child has been in prison for 5 of their 6 year relationship. Their baby was conceived during a conjugal visit. The MS13s support her while her partner is in prison. When asked how she feels about the circumstances, Daniella tearfully said,"He (her mother’s partner) is more of a father to me than my biological father ever was. I love him and I miss him." Daniella’s biological father left when she was 7 months old. © Christina Simons. From the series ‘Resilient rɪˈzɪlɪənt/ adjective: (of a person) able to withstand or recover quickly from difficult conditions. Synonyms: strong, tough, hardy’, a personal project shot in San Pedro Sula, Honduras, January 2018. Iris and her husband were convicted of kidnapping. Her husband was a policeman, as were their two other accomplices. The person they kidnapped was rather high profile and they were captured at the location that they held him prisoner. Iris fed and looked after their prisoner. They were all sentenced to 20 years in prison, however she will only serve 16 years. Iris has become pregnant twice while serving her sentence through conjugal visits with her husband who is also incarcerated. Her older son Roberto now lives with his father's family and left prison when he turned four. Her younger son Henry is still with her and wears the blue tee-shirt. © Christina Simons. From the series ‘Babies Behind Bars’ for The Guardian. Tamara Women’s Prison, Honduras, January 2018. Maria Juarez is only 53 years old. Her son is 18 years old and a MS13 member. He was arrested for possession of guns. On this day she traveled two hours to El Poso prison to visit him, however she is unable to see him due to a government crackdown on gang member inmates. Maria had to leave her severely disabled daughter at home, tied to a chair for several hours whilst visiting her son. She is frightened because she has no money or way to feed herself and her daughter. She fears she won't see her son again. © Christina Simons. From the series ‘Resilient rɪˈzɪlɪənt/ adjective: (of a person) able to withstand or recover quickly from difficult conditions. Synonyms: strong, tough, hardy’, a personal project shot in Llama, Honduras, January 2018. A three year old girl stands at the prison bars that enter into the section of the prison, known as Casa Cuna, where she lives. © Christina Simons. From the series ‘Babies Behind Bars’ for The Guardian, Tamara, Honduras, January 2018. The countryside, near Gonaives. The deforested mountains had no topsoil to absorb or slow the rushing water that besieged Gonaives during Hurricane Jeanne in 2004. When the rain ceased, more than 3,000 people had been killed, many washed out to sea. Thousands of people were made homeless. © Christina Simons. From the series ‘The Haiti Project’, a personal project shot in Gonaives, Haiti, March 2006. A street boy eats a mango. From the series ‘The Haiti Project’ a personal project shot in Cite Soleil, Haiti, March 2006. The older girls of the orphanage Foyer des Enfants play and sing. Sourette owns and runs a private orphanage called Foyer des Enfants. The day I met the children of orphanage Foyer des Enfants, the children hadn’t eaten in 3 days. There are 35 children at this orphanage and it takes a mere $50US per month to feed them all. Most of the children at this orphanage have lived as a Restavek. The orphanage was flattened in the 2010 earthquake and the last I heard was that while the children and Sourette survived, they were living on the streets. © Christina Simons. From the series ‘The Haiti Project’, a personal project shot in Port au Prince, Haiti, March 2006. TPL: What are some of your goals as a photographer? Where do you hope to see yourself in five years? CS: I have a ‘bucket list’ of clients I’d like to add to my client list. I love working with MSF. Their projects have constantly inspired me, so I hope our relationship continues for a long time. I think in the next few years as my son gets a bit older, I can take on longer assignments away from home and pursue both those as well as personal projects. I just want to keep telling important and untold stories, doing more of the work I love and hope that it may impact one or two people who haven’t previously heard of the subject or story I’ve covered. TPL: Are there any projects you are currently working on that you would like to let everyone know about? CS: We had hoped to exhibit in the US, but it was cancelled last year. I’m still hoping for the exhibition to travel there eventually. We are still planning to exhibit ‘Running to Nowhere’ in Australia and Greece. I am in the process of publishing a book on the series as well. In 2020, I had a huge couple months planned in Africa but unfortunately that was cancelled. I still intend to do that work but it’s hard to know when that will be. I am also researching a couple of potential projects in Venezuela and Columbia, but until I can travel it's all on hold. TPL: "When I am not out photographing, I (like to)… CS: I have a seven year old son so I spend most of my spare time running around after him and enjoy watching him grow up. However, when I’ve been on assignment in Mexico and have a few days to myself I’ve been known to take myself off to Cozumel to go scuba diving or Palenque to trek through the Mayan ruins in the jungle. If it’s just a day, I would spend hours in the Museums of Mexico City; Anahuacalli, National Museum of Anthropology, Palacio de Bellas Artes and the ruins in and around the city...all these sorts of experiences feed me like nothing else, all of it is in the name of learning, inspiration and exploration." We thank Christina for the opportunity to interview her about how her journey into photography began, her inspirations and experiences, and we are humbled by her efforts and the genuine connections and contributions Christina has made in her work, to tell the stories of those who do not have the means to do so themselves. Please use the links below to see more of Christina's important work. VIEW CHRISTINA'S PORTFOLIO Read RUNNING TO NOWHERE by Christina Website >>> Instagram >>> read more interviews >>> 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. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void.

ALEXEY STRECHEN be inspired Gallery // ARTIST STATEMENT // I am an amateur photographer from Belarus currently living in Moscow, Russia. I started doing photography regularly quite recently, in March 2019. Canon EOS 80D is my main content creation tool. Over the year of experimenting with colors, lighting, and composition, my idea of photography has changed a lot. The first six months I took pictures on the Nikon D3200. The lens was catching everything that was around me. As a result, my photos were like a set of completely different pictures. Now I try to find my own style. I guess I don’t like photographing just architecture, just people or just nature. I like to capture moments in the photo. The faces of the main characters in my photographs are usually hidden in whole or in part. The final photographs often turn out a little gloomy, but from this the moments become only brighter. Now I'm working on creation my first portrait series. Stay tuned! LOCATION RUSSIA CAMERA Canon EOS 80D CATEGORY street @ALEXEY.STRECHEN FEATURES // Catching Glimpses of Life

INTERVIEW July 23, 2021 VISUAL AMBIGUITIES Photography by Marc Pennartz Interview by Melanie Meggs As a society, we often can be drawn to what is beautiful and perfect. However, Belgian street photographer Marc Pennartz has a different eye. He delights in the strange, the forgotten, the imperfect – the scenes that, on first glance, may seem meaningless. He revels in the chaos of daily life and enjoys surrendering to chance. His photographs can be mysterious and ambiguous – he captures a moment and leaves it to the viewer to interpret. Marc was born in the Netherlands, lived in Sweden, and is now based in the Antwerp region of Belgium. He initially picked up a camera to illustrate articles he wrote as a journalist. Over time, however, he has devoted himself to his own interpretation of street photography. He uses a simple and lightweight digital camera to take shots in public spaces, often featuring people but rarely making them the focus of the photograph. The images Marc produces tend to lean towards the abstract. He wants to evoke an emotion but leaves it all up to the viewer's imagination. He often lectures and conducts workshops on street photography, sharing his distinct vision with others. Marc is a passionate photographer who believes that the best photographs are those that are not fully understood and instead require examination and contemplation. For him, the beauty lies in the unknown. “I think every great photograph has a McGuffin too: an element that you can sense without seeing it. If you feel there is one in a given situation, click! If you don’t feel it, look elsewhere. Put a few McGuffin's together and you have a reflection of your personality.” IN CONVERSATION WITH MARC PENNARTZ THE PICTORIAL LIST: Marc please tell us about yourself. How did you become interested in photography? MARC PENNARTZ: I was born in the Netherlands, spent some time in Sweden and now live in Belgium. I’m a photographer, copywriter, journalist, website creator, content manager, writer of fiction and nonfiction, musician, blogger and also give street photography workshops when the coronavirus allows. My father was a hobby photographer and my first camera was a Kodak Instamatic which I got in my early teens from my older brother. I immediately liked it but it wasn’t until I worked as a magazine editor before photography became more important. When living in Sweden I never left home without a point and shoot, taking snapshots in the forest, and about five years ago, street photography came into my life. TPL: Your work has been best described as 'glimpses' of reality. Tiny fragments of what is around us. Artists often build up and experiment towards a method of working. Has your imagery become more abstract over time, or did you know exactly what you wanted from the beginning? What has been the inspiration for your street photography? MP: In my street photography, I initially took the traditional approach, trying to document human life in the city, but I quickly felt something lacking. I didn’t feel any magic in randomly taking pics of people on the street. Duane Michals once said that photos shouldn’t tell you something you already know, and I agree. So gradually I began to pay more attention to architectural elements, colors, reflections, trash and lots of dirty windows, to make my images more interesting and add a little bit of mystery or wonder. Do you know what a McGuffin is? Alfred Hitchcock used the term for a device or driving force for a movie that more often than not is invisible. I think every great photograph has a McGuffin too: an element that you can sense without seeing it. If you feel there is one in a given situation, click! If you don’t feel it, look elsewhere. Put a few McGuffins together and you have a reflection of your personality. TPL: Talk to us about your stunning virtual 3D exhibition and book "Searching For Quiet". You also stated, "I could have jumped in front of a train, but went out on the street instead and frantically started shooting in a desire for peace and quiet. I have not yet returned from that trip." Could you explain to us what you mean by this? MP: Street photography came into my life at a time when I was confronted with a terrible series of setbacks in my personal life. Going out on the streets enabled me to forget about all the misery. I guess making art, in whatever form, always is a way of coping with the darker side of life. Call it self-therapy or escapism. You create your own little universe in which you are in control, and nothing from the real world can interfere without your involvement. In a way, artists are people who love to play God 😊 The exhibition gave me the chance to see if my pictures of scratches, broken glass, graffiti, containers, torn plastic and lonely people would work in the sterile environment of an art gallery, be it a virtual one. It’s funny how photos feel different when you change the context. Normally, when I look at one of my street photos, I still hear the traffic or smell the diesel from a passing van, but when presented on a clean white wall and with civilized piano music, it suddenly becomes an almost pastoral thing. Weird. TPL: Do you think this is the way of the future having 3D virtual exhibitions? Some prefer them, as it gives them the opportunity to be able to reach that global audience. What are your thoughts? What was it like curating your own exhibition? MP: I think virtual exhibitions are more like alternatives for slideshows and online portfolios, rather than a replacement for real exhibitions. The problem is that in art, size matters. People will always want to see the real thing at a proper size. It’s also fair to say that images that are rich in detail simply work better when they’re big. Besides, exhibitions are also social gatherings that many of us don’t want to give up. Nevertheless, 3D versions make a valuable addition and I’ve reached people that otherwise would not have seen my work. Choosing photos is of course never easy, especially if you first go through all your work, and then narrow it down to 40. I didn’t do that. Instead I chose to pick the ones that just came to my mind, based on the idea that you will always remember what’s really good. That way I got 60 or 70, and then I got down to 40 and turned it into a consistent collection. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MP: Just to name a few...Guy Bourdin for his provocative style and twisted humour. Ernst Haas for his incredible versatility. Sarah Moon for her otherworldly aesthetic. André Kertész for his humanity, Harry Gruyaert for his use of color, Edward Steichen for his romantic imagery. People keep telling me they see traces of Saul Leiter in my more abstract street work. He was a bit of an introverted outsider, and I guess, the same applies to me. I believe that your personality inevitably shines through in your choice of subjects and the way you approach them. TPL: Do you have a favourite place to photograph? MP: I almost exclusively shoot in Antwerp and Brussels, partly because they’re so close to where I live, and partly because I like the visual qualities of the urban chaos of Belgian cities. I love things that are “not right” and a bit ugly. However, if I would still live in a rural area, I would probably be a landscape photographer. Essentially, photography is not about trees or houses, animals or people, but about conveying emotion through shapes, contrasts, colors. You can find anything of that within few square kilometres around your home, wherever you are. Do you know what a McGuffin is? Alfred Hitchcock used the term for a device or driving force for a movie that more often than not is invisible. I think every great photograph has a McGuffin too: an element that you can sense without seeing it. TPL: When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just "come to you", or is it both? MP: I very much rely on instinct. Concepts sometimes emerge from the work I have done, instead of the other way round, and then I sometimes use them to build upon. Normally, I leave much to chance and what happens to meet my eye. When I walk in the city, I focus on light, shadow, textures, structures, glass or color. When I see something interesting, I compose the image and then often wait to incorporate some human element. A hand, shade or the back of a head is enough to add life and a sense of proportion. But people are not a must. It really depends on the situation. TPL: You said that "brands don't shoot, eyes do!" Does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? MP: Many websites, youtubers and writers put a lot of emphasis on gear and settings. As a result, they create the idea that fancy cameras and certain settings make good pictures, but that’s not true. It all depends on who operates the tool. Michael Kenna made awesome work with a 50-dollar plastic Holga, André Kertész created magic with a Polaroid, and there are so many great images that are unsharp, or underexposed or overexposed according to the unwritten rules of photography. This is art. There’s no beauty in a histogram. The last few years I have been using two mirrorless cameras and a few prime lenses. I mainly shoot with a 50mm full frame for regular street photos and a 112mm for more abstract work. They are all budget models of different brands, yet fast and sharp enough for my needs. When I want some special effects, I play with my shutter speed or try double exposure. Or I put some olive oil on a UV filter, move the camera intentionally or shoot through plastic foil. It’s way more fun to find such solutions than to focus on new gear. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? MP: Toughest question of the day. I never think in terms of career or goals, but as long as there’s still a McGuffin in my work, I'll be good. I also have some wild, secret dreams of exhibitions in unusual places, but I’m pretty sure they will remain a secret forever. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MP: Recently I started doing black & white photography again, to create dark and moody work with a slightly nostalgic feel. It also includes landscapes and nature. Feels like there’s potential there. I'm not quitting color photography though, nor will I quit street photography. I'm just searching for quiet with a broader horizon. TPL: When I am not out photographing, I (like to)... MP: Edit? Marc Pennartz's work is an amazing example of how a photographer can use ambiguity to create a powerful emotion within the viewer. His ability to capture the emotion of a moment and the power of the imagination make him one of the most unique photographers in the field. To truly appreciate his work, take the time to view it from different angles and with various elements to fully understand the magic of his photography. Explore Marc's work and experience the emotion and power of his photography. VIEW MARC'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> 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. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void.

INTERVIEW January 29, 2021 SOCIAL REVOLUTION Photography by Ruber Osoria Interview by Karin Svadlenak Gomez Ruber Osoria is a Cuban photographer whose remarkable journey has taken him from the vibrant streets of Havana to his current home in the remote corner of southern Chile. Growing up in the countryside of Cuba, Ruber’s early love for photography was sparked by the stories he heard from his grandfather, who was a passionate photographer himself. With the help of his mobile phone, Ruber captured the everyday beauty of his rural home, allowing him to explore the world around him through a lens. It wasn’t until he arrived in Chile that he was lucky enough to get his hands on a used camera, and it was then that he was able to truly hone his craft. His work is now focused on documenting life in the streets and exploring the hidden stories within conflict. Through his lens, Ruber strives to bring attention to the misfortune of humanity, and shows us a unique perspective of what it means to be human. “I started taking photos with an iPhone that an uncle who lives in the United States gave me during one of his trips to Cuba. I would go out with my rectangle in hand and isolate myself far between the embrace of palms and carob beans, I did not know that there was a photography movement and much less that it was considered an art. I just felt good, full, in the climax . And so my friends, artists who graduated from the academies of plastic arts, fell in love with my photography, to the point when I did my first exhibition in my town. Everything was very nice, I fell in love with that social recognition, which gave me my own identity, a unique and exclusive language, and there was the enormous task of learning and educating oneself, difficult for a peasant like me in a country without internet to even see a tutorial. But I had cinema and, most importantly, good friends.” IN CONVERSATION WITH RUBER OSORIA THE PICTORIAL LIST: Ruber, please tell us about yourself. RUBER OSORIA: I was born in eastern Cuba, in a town of Taino heritage, which is subtly penetrated from the back by a wonderful river, which gives the name of Contramaestre to my beloved land, the land of the last mambí, and where the three greatest men in the history of Cuba, Cespedes, Marti and Fidel, washed their bodies in that river. Son of a single, peasant mother, an example of feminism, my mother, without knowing what it was to be a feminist, lived in the town of Maffo, in a wooden house with earthen floor, and 70 percent of the food on our table was produced by my mother's hands, because instead of planting flowers and roses, she planted bananas, corn, beans, an infinite number of things. TPL: How did you get to Chile, being Cuban? What are you doing there? RO: I was born in eastern Cuba. I come from a humble family where the majority of its members, and Cubans in general, perceive the United States as a very civilized country with rich, sophisticated and noble people. It was the perfect destination to migrate to, even more so with all the benefits that we were able to obtain, thanks to the differences between Cuba and the USA, benefits such as the Cuban Adjustment Act or the Wet Feet Act. When those laws were eliminated, Cubans had to rethink a new direction to migrate to, first finding Chile, the paradise of neoliberalism in Latin America. In 2018 I made the decision to migrate to Chile in search of a good job, with the aim of buying my first camera and continuing with this passion that continued to grow every day. I went through 4 countries in less than a month. I was a victim of human trafficking, thirst, hunger and fear. Being in the hands of traffickers, anything unexpected could happen. I finally arrived in Chile as an undocumented migrant. I had never imagined living in Chile, much less working there. It was an impossible dream for a young man like me. Before arriving in Chile, apart from soccer, Neruda's poems, and some emblematic places like the Atacama Desert, I did not know anything about this country. With the money I earned from the first illegal jobs I did, I bought a second-hand camera. It was a Sony A58, my first camera with the kit lenses. Months later it happened that I had to live through a social revolution, so I took a series of photographs entitled *"Chile the other earthquake". *Read THE OTHER EARTHQUAKE through the link at the end of interview. TPL: Where do you find your inspiration? RO: I find my inspiration in literature, in audiobooks, and reviewing a lot of work by other photographers and photography groups. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? RO: My favourite photographers are Sergio Larrain, Raúl Cañibano, and Sel Sagama. Sel Sagama is a photographer and friend who has changed the way I look and do my work. He has changed my style by 95%, in terms of the technical as well as the subjective and creative aspects. I photograph with an authorial look and with a message behind it, there is already a working table, it is no longer taking photos just for the sake of taking photos. TPL: Do you have a favourite place to take pictures? RO: The street, conflict, misfortune are my favourite places. But my special place to take photos is the theatre. It is a challenge, it is composing on top of a composition. TPL: With what type of equipment do you do your photographic work? Do you think equipment is important to achieve your vision in your photography? RO: I do my photographic work with a second-hand Sony alpha 58 with the kit lenses, which I bought with months of savings. If I believe that the instrument is a driving motor of a photographer, not in the vision as such, but I believe it is a bridge, where the unreal and the subjective become palpable and solid, such as photography is. TPL: Besides photography, do you have an artistic background? RO: Before discovering this beautiful sensitivity for photography, I was dedicated to the Moorish art of the tablas (a type of drum), and I was the vocalist of a small punk band in my town, also performing for the radio. TPL: Is there a special project you are currently working on and would like to inform us about? RO: I am working on a documentary project about the arrival of baseball in the south central region of Chile, as well as the influence of migrant foreigners in this area. Hopefully I can publish a book. TPL: "When I'm not out taking photos, I (would like)... RO: To be a good lover, a good father, a good companion and to fight the patriarchy. Ruber Osoria's story is a testament to the power of passion and determination. His journey from rural Cuba to distant Chile is an incredible one, and his photographs of the streets and conflicts he encountered along the way are an invaluable reminder of the complexity of life. We can all learn from Ruber's example and use our own talents and interests to pursue our dreams and make a difference in this world. We invite you to join us in supporting and celebrating Ruber's work, as he continues to explore the world through his lens and capture the hidden stories of humanity. VIEW RUBER'S PORTFOLIO read more interviews >>> 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. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void.

INTERVIEW November 4, 2020 ROLL THE DICE Photography by Sofia Dalamagka Interview by Melanie Meggs We all know the feeling of loneliness. The feeling of being unseen and unheard, of being lost in a crowd of strangers, all of them going through their own struggles and joys, none of them truly noticing us. But when we look closer, we can see the secrets hidden in their faces. The feelings that cannot be voiced, the stories waiting to be told. It is this hidden beauty that Greek photographer Sofia Dalamagka seeks to capture in her work. Sofia takes us on a journey around the forgotten ports and impersonal cities of the world, introducing us to the faces of strangers who, in their own way, tell stories and evoke emotions within us. Through her lens, Sofia dives into the innermost depths of human existence and reveals the feelings hidden away beneath the surface. These are people searching for something, be it joy, recognition, or even just a way out. Connected by a shared sense of deep loneliness, they are paused in time - living and breathing in moments that will never return. For Sofia, photography is not just a profession; it is an art, a form of love that will never pass away. Her camera is her eternal mistress, and through it she invites us all to take a second look at the people who pass us by each day. To pause and reflect on their innermost thoughts and feelings, and to uncover the hidden beauty in our own lives. With her work, Sofia Dalamagka encourages us to recognise the importance of understanding one another, and to appreciate every moment that life gives us. “Photography is a way of my existence, a kind of love that does not wear out as time goes by and my camera is my eternal mistress. The only thing that I’m sure about is that I don’t want to give answers, but I want to create questions. For me, capturing a moment should create doubts. Maybe I want to do a social statement. Sometimes, I want to express all the feelings that I hide. Sometimes I want to make the viewers question themselves, provoke or to disturb them. Even give them some negative feelings because that is a way of a creating a connection with the picture you have taken.” IN CONVERSATION WITH SOFIA DALAMAGKA THE PICTORIAL LIST: Sofia please tell us about yourself. When did you start getting interested in photography? SOFIA DALAMAGKA: I started taking photographs as an amateur when I was 28 years old. It was some kind of love which still continues to give me that feeling until today. For about two to three years I took a small break. Photography was my 'saviour' when I felt totally blank inside, when I was questioning my own existence. Between falling and creativity, I consciously chose the second. I try to evolve constantly by taking lessons, seminars, certifications of courses, by reading and studying a lot, by experimenting. Many times, success flirting with failure. And that's where all the magic hides, trying to overcome yourself and your expectations! TPL: You sent us photos from your series 'Roll The Dice'. Tell us how this idea started and what you want the viewer to interpret? SD: Roll the Dice is a poem by Charles Bukowski. He is my favorite poet and writer. I read that poem every time I get desperate. That poem was the main idea for the creation of these pictures. It talks about those who lose their courage, and find many obstacles during their everyday life. I want the spectator seeing these pictures to realise that it is important to remain humane and that everyone is alone in this world going through his own everyday battles. TPL: Where do you find your inspiration to keep photographing? SD: In love, traveling, in a passing glance, in books, in the waves of the sea, in the sound of rain, in the smell of wet soil, in promises that weren't kept, in stories of lovers and friends. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? SD: Francesca Woodman and her tragic end have affected me deeply as an artist and as a woman. Nevertheless, Daido Moriyama work with his dark nightly Contrast, Saul Leiter’s poetry and Vivian Maier’s deep irony about human existence spreading through all of her work were what sculpted the way I take for real and how I try to show the meaning of what I see. TPL: Do you prefer to photograph alone or with friends? SD: I think of photography as a unique procedure where there is no space for babbling. It’s a secretive experience. If you are not a lonely wolf, you are not a photographer! Photography for me is the reflection of the photographer. An inner world emerges and becomes real through this. It deals with the irrational, the illusion and the subconscious. Photography is the memory. An experience. A persistence. A glimpse. A promise never kept. TPL: Has your style of photography changed since you first started? SD: I have changed my perspective and style since I started to work with photography and I still continue to reshape my personal perspective without to totally change the identity of my work. Change is part of my personal evolution, we shouldn’t be afraid of experimenting, of taking risks, of change in general. TPL: Where is your favorite place(s) to photograph? SD: As much as I love traveling, I believe that familiarity is what creates images with meaning, a story to tell and substance. Wherever I go I always end up taking pictures in the small by the sea village which I come from and live during winter. Mainly around the village port, where little stories are evolved, unnoticeable by others. TPL: How does the equipment you use help you in achieving your vision in your photography? Do you have a preferred lens/focal length? SD: On the street, or outdoors in general, I really like to be unseen by people that's why I prefer a quiet mirrorless camera. I like wide frame from wide angle lenses but I usually work with the usual 50mm lens which is closer to what I can see. There are times again when I like to focus on details that might describe a whole way of life or a personal story. I love cold colors and the way mirrorless cameras show the color palette, with that vintage feeling they give you as well as the filters they offer you like black and white film. All these helped me very much to improve my portfolio by creating a project with coherence. TPL: Are there any 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? SD: Lately I have been experimenting with techniques mix media and double exposure, I have been trying to connect pieces of images into one image connected harmonically and even. I would like to finally carry out the exhibition I have been working on with another 26 women participating, with the title 'Under Negotiation' which I personally revised, but unfortunately was cancelled due to the Covid-19 pandemic. It is about the existence and women psychology and how every woman gets along with her body, stereotypes, motherhood, the pressure she has to put through with our worlds social standards. I dream of my first own personal exhibition, my portfolio is in progress. I hope that I will be able to have created my own photography team where I live which will show the cultural heritage of where I live and which will give the opportunity to 'Jung' people to express through photography. TPL: Have you ever been involved in the arts before you found photography? SD: When I was a little child I would always remember my mother painting with oil paint on canvas, I still have the smell of the paint and the thinner in my memory. If I close my eyes I can hear the sound of the brush on the canvas. That was my first contact, and the most magic one, within the world of Art. I remember looking at her in awe and with childhood enthusiasm. TPL: "When I am not out photographing, I (like to)… SD: I like taking photographs either way, cause it’s an obsession, a way of existence and the way of how people see the world. I revise exhibitions, write articles about photography, read about the work of modern and classic photographers and argue with my friends if a photo is eventually good or not." Sofia Dalamagka has shown us that there is beauty all around us, and that through understanding and appreciation of one another we can find a greater appreciation for our own lives. Her photography is a testament to that and an invitation to pause, reflect and celebrate the beauty of life. We encourage you to connect with Sofia and to see more of her art, and to take a second look at the world around us. VIEW SOFIA'S PORTFOLIO Sofia's website >>> Instagram >> read more interviews >>> 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. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void.

TRIS be inspired Gallery // ARTIST STATEMENT // Like a moth to the flame of London's bright, the beautiful and the extraordinary! LOCATION London UNITED KINGDOM CAMERA Canon EOS 5D Mk IV CATEGORY street, documentary, portraits @COLOURBRICKS FEATURES // Rebels For A Cause Colour Bricks

LAURA BINAGHI be inspired Gallery // ARTIST STATEMENT // Photography is a therapy for me. Through my photos I express what I am, my soul, and my way to look at the world. LOCATION ITALY CAMERA Nikon D3100 CATEGORY fine art, details @DETAILS_OFMYLIFE01 FEATURES // Photo Therapy

TONY REDDROP be inspired Gallery // ARTIST STATEMENT // Started my journey in the late nineties, and then took a break for eight years. Almost six years forward, and the journey has recommenced. I photograph things the way I see them, focusing on light, shadow, and colour. My images focus on the people and things, in the small semi rural town where I live, in New Zealand. I use multiple ways to show my work, exhibition, electronic media, and public display as billboard style images, two metres plus in size. I believe it's important to have images accessible, to as many people as possible, because not everyone feels comfortable in a gallery. The journey has taken me from assisting commercial photographers and as a freelance press photographer. It is all a learning curve...but as long as you are learning. LOCATION Palmerston North NEW ZEALAND CAMERA Fuji XE-3 - 23mm F-2.0 lens CATEGORY social documentary, environmental portraiture WEBSITE https://www.flickr.com/photos/tony_reddrop/albums @TONYREDDROP FEATURES // Crossings

ADESH GAUR be inspired Gallery // ARTIST STATEMENT // I am a documentary and fine art photographer, currently based in Kanpur, Uttar Pradesh. The principal motivation behind my pictures is a focus on humanist issues combined with strong visual storytelling. LOCATION Uttar Pradesh INDIA CAMERA Canon 700D CATEGORY documentary, fine art @ADESHGAUR99 FEATURES // New Normal

CASPER DAM be inspired Gallery // ARTIST STATEMENT // I grew up in the rural part of Denmark, but have lived in the second largest city, Aarhus, for a long time now. I work within the university communications department, and about five years ago we started a major shift towards visual, user driven communication, and I needed to learn about practical photography fast. And boy, have I learnt! Since then the spark ignited into a full fledged obsession for me. I shoot every day as a mental outlet and as a source of life creativity. It started out as minimalist black and white street photography, but my seeing has shifted towards colour compositions. Essentially, I love to frame something ordinary in an extraordinary way. It is a way of seeing adventure everywhere and keeps me from ever getting bored. These kinds of snapshots align with something within myself. LOCATION Aauhus DENMARK CAMERA Fujifulm x-pro 2, x100f, x100v CATEGORY street @CAPPERHD FEATURES // Framing My Adventure

INTERVIEW December 18, 2020 CANDID OBSERVATIONS Photography by Lasse Persson Interview by Melanie Meggs When it comes to capturing beauty in the ordinary, few can rival the work of Swedish photographer Lasse Persson. With over four decades of experience as a press photographer, Lasse has developed a unique and powerful style of street photography that seeks to capture the extraordinary, humorous, and absurd moments in everyday life. His works are a moving testament to the human condition, inviting us to observe and appreciate the hidden beauty in the seemingly mundane. Join us as we explore the captivating art of street photography through the lens of Lasse Persson. “I started to work as a press photographer when I was 19 years old. I overcame my timidity which later has been an advantage for me in my street photography since I don’t have problems with approaching people. Street and press photography have a lot in common...they are both about observation, to have a keen eye and an interest in people to be able to tell a story in a single picture.” IN CONVERSATION WITH LASSE PERSSON THE PICTORIAL LIST: Lasse, please tell us about yourself. When did you become interested in photography? LASSE PERSSON: I was born in Malmö located in the southern part of Sweden but I have been living in Stockholm for quite many years now. I also lived in Los Angeles for some years back in the 1970s from where I worked as a freelance photographer for Swedish newspapers and magazines. Became interested in photography already at the age of 10. I received a camera as a gift from my uncle and soon after, I became a member of a photo club. Due to my young age, I got a mentor who taught me the basics of photography, how the camera works, the technology, and how to develop film and make prints in the darkroom. TPL: Where do you find your inspiration to photograph? LP: I find my inspiration from traveling and watching people on the streets but also from other photographers. All streets wherever they are, inspires me. I especially I like the streets of Stockholm but also in many different Spanish cities were I love to walk the streets with the camera in my hand and with open eyes. TPL: What do you want to express through your photography? And what are some of the elements you always try to include in your photographs? LP: The human element is essential in my pictures. I want my pictures to reflect a curiosity about people and show people in everyday life which can be humorous, absurd, extraordinary and much more. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? LP: I have many favourite photographers like Elliott Erwitt, Henri Cartier-Bresson, W. Eugene Smith, Robert Doisneau, Peter Turnley, Peter Kool and many more. But the photographer who’s style inspired me the most when I was a young and avid photographer traveling around Europe in the 1960s was Tony Ray Jones. He made a fantastic book 'A day off' about the English people just before he died of cancer very young. 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? LP: I have always and still am unimpressed by cameras and equipment. I have a camera that I am comfortable with that is light and that I can hold in one hand to be ready to snap. The camera I use is a Nikon D3500 with a zoom 18-105 mm, mostly I use it at 18 mm. This camera gives me a picture quality that I’m happy with…. but the most important tools are my eyes, not the camera. I love to walk the streets with the camera in my hand and with open eyes. TPL: Your photos show people in Spain, France, and your home country Sweden. Do you have a favourite place(s) to photograph in? LP: Yes, I like to travel and have done so all my life. Nowadays, my wife and I travel around in Southern Europe with our motorhome for about 6 months every year and have been doing so for quite a many years now. It gives me great opportunities in my street photography to get to new places and cities, which is very inspiring. I particularly like to shoot in Spanish cities such as Malaga, Murcia and Valencia. TPL: When you go out on the streets, do you have a concept in mind of what you want to photograph, or do you let the images just "come to you", or is it a combination of both? LP: I let the images just 'come to me'. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? LP: To continue to shoot on the streets and to stay alive for five years more. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? LP: I am preparing for my first solo exhibition which I hope will taking place in a gallery in a gallery in Stockholm in August or September 2021. TPL: "When I am not out photographing, I (like to)… LP: Travel with our motorhome and much more." Through the lens of Lasse Persson, we can experience the beauty of everyday life, and gain a greater appreciation for some of the most extraordinary and humorous moments in our lives. His work speaks to the power of capturing the ordinary and invites us to take a closer look at the world around us. To explore more his captivating street photography, connect with Lasse Persson through the links below. VIEW LASSE'S PORTFOLIO Lasse's instagram >>> read more interviews >>> 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. TRANSTEMPORAL Russell Cobb is an incredible photographer and storyteller who offers viewers a chance to step into the past and explore the nuances of culture and history. A LOVE SONG TO THE AMERICAN WEST We have the pleasure of seeing and hearing the visual stories created between photographer, Ross Taylor and musician, Russick Smith. As the wind sweeps through the landscapes the notes of a cello fill every void.

B JANE LEVINE be inspired Gallery // ARTIST STATEMENT // I was raised in the suburbs of New Jersey, a short bus ride from New York City. I earned a PhD in Biochemistry from Columbia University, but left the field of molecular biology research to raise my family. After leaving research, I took an interest in photography and began taking classes at ICP and other online platforms. I honed my skills through many photography trips all over the world. My photography spans several genres including street photography, landscape photography and long exposure cityscapes. Currently my focus is a series of candid portraits of strangers captured on the streets of New York City. The people in the photographs all possess a characteristic, gesture, or physical trait that I identify as parts of my own story. The series is a composite of pieces of her life – a self-portrait. LOCATION New York USA CAMERA Sony a9 and a7 CATEGORY street WEBSITE https://www.bjanelevinephotography.com/ @BJANELEVINE FEATURES // Nod of Recognition