I am a natural-light, self taught photographer who feels the creative process is pure joy. My approach to photography is to be mindful of myself and the world around me, searching for the just right expression of some feeling or emotion. I am interested in the simple beauty of everyday life moments, capturing what my eyes can see and, most importantly, how I feel about them. ‘Home’ is a visual exploration of memory, loneliness, and the quiet search for belonging. Through images that trace both physical and emotional landscapes, this work reflects on transformation, self-discovery, and the idea that home is not a place, but something we carry within. REGINA MELO ARTIST'S STATEMENT // I am a natural-light, self taught photographer who feels the creative process is pure joy. My approach to photography is to be mindful of myself and the world around me, searching for the just right expression of some feeling or emotion. I am interested in the simple beauty of everyday life moments, capturing what my eyes can see and, most importantly, how I feel about them. ‘Home’ is a visual exploration of memory, loneliness, and the quiet search for belonging. Through images that trace both physical and emotional landscapes, this work reflects on transformation, self-discovery, and the idea that home is not a place, but something we carry within. LOCATION Connecticut UNITED STATES CAMERA/S Canon 6D Mark II, Fuji XT-5 CATEGORY contemporary WEBSITE https://reginamelophotography.com/ @GIGI_A_MELO FEATURES //

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

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

I'm a Finland based self-taught photographer. As a photographer I am mostly interested in people, places and details. My love for old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's production partly explain why I photograph as I do. And if you don't understand Daido Moriyama or Junichiro Tanizaki you don't know me. I'm a dad with a wife and one lovely daughter. I was born and raised in Finland. Despite my travels I could give you 100 reasons why Finland is 'The Most Kick-Ass-Country' in the world. SIMO VÄISÄNEN be inspired Gallery // ARTIST STATEMENT // I'm a Finland based self-taught photographer. As a photographer I am mostly interested in people, places and details. My love for old Finnish black and white movies, Italian neorealism and Akira Kurosawa's and Sergei Eisenstein's production partly explain why I photograph as I do. And if you don't understand Daido Moriyama or Junichiro Tanizaki you don't know me. I'm a dad with a wife and one lovely daughter. I was born and raised in Finland. Despite my travels I could give you 100 reasons why Finland is 'The Most Kick-Ass-Country' in the world. LOCATION Finland CAMERA Nikon Z CATEGORY documentary, street WEBSITE http://www.simovaisanen.fi/ @SIMOVAISANEN @SIMOVAISANEN FEATURES //

INTERVIEW INTERVIEW June 14, 2024 TRUE LIFE IMPRESSIONS Photography by Matthias Gödde Interview by Melanie Meggs Welcome to an exploration of the photographic world crafted by Matthias Gödde, a photographer whose work delves deep into the raw essence of human emotion with unparalleled authenticity. Matthias' photography transcends mere documentation; his photographs serve as windows into the very souls of his subjects, inviting viewers to contemplate the complexities of the human experience. Eschewing contrivance and artifice, his images offer unadulterated glimpses into the everyday moments that define our lives. For him, it's the people who inhabit these spaces that truly breathe life into his compositions. Through meticulous curation and a keen eye for detail, Matthias crafts series that resonate with profound emotional depth, blurring the lines between observation and introspection, infused with wit, irony, and sometimes even absurdity. Reflecting on his journey into photography, Matthias traces his passion back to a childhood encounter with a book on photography techniques. Despite initially grappling with the technicalities, the allure of capturing the visible world through chemistry left an indelible mark on him. Fueled by a voracious appetite for visual exploration, he immersed himself in the works of luminaries past and present, drawing inspiration from the rich kaleidoscope of artistic expression. With over four decades of experience behind the camera, he continues to evolve his craft, drawing inspiration from a diverse range of subjects and themes. From street photography to urban landscapes, his work remains rooted in the tradition of new color photography while embracing the ever-changing landscape of contemporary visual culture. Join us as we explore the mind of Matthias Gödde, delving into the inspirations, challenges, and triumphs that have shaped his remarkable photographic journey. “Today I see myself as an author photographer. A term that was coined in the 80s by the art critic and curator Klaus Honnef. I have been working on very different topics for years. If, like me, you have been taking photographs for 45 years, this is a tried and tested means of having different seedlings to trigger your gaze and perception again and again. My roots lie in the new color photography of the 80s with its street and urban landscape photography is something I still feel strongly connected to today.” IN CONVERSATION WITH MATTHIAS GÖDDE THE PICTORIAL LIST: Hello Matthias…welcome to The Pictorial List! Let's start by telling us about yourself. What would you say first drew you to photography? MATTHIAS: Looking back, I had no choice. When I was 10, I came across a small book about photography techniques from my older brother. It was one of those long summers that, as a child in the 60s, made the holiday season seem endless. So, with an abundance of time, I read several chapters about film processing and how to put negatives on paper in a darkroom. At the time, I didn't really understand much of what the content of the book was trying to tell me. However, the magic of the latent image that can preserve the visible world with the help of a little chemistry has remained to this day. Reading this book was the seed that took several years to sprout. There was a drugstore in town that sold darkroom supplies, but my pocket money wasn't enough. However, that same year I bet my entire pocket money on the main prize at a lottery booth at the fair and won a Kodak Instamatic 133, which became my companion on school trips. My interest was directed towards art by an uncle who painted and knew how to copy old French and Flemish masters. An intensive engagement with painting and graphics began. I got everything I could find in illustrated books about it from the city library. Because of the desire to see, I could never get enough. This also later impressed my parents, who enabled me to study visual communication at the age of 17. Here the seed sprouted and germinated. It took less than 4 weeks, and I was just hanging out in the photo workshop. The university library was a mecca for good monographs about American and European photographers. My eyes didn't get a break. In a small circle of like-minded people, we met at the cinema at least twice a week. Taken together, the best preparation for refining your own vision. TPL: How do you think your background in visual communication has influenced your perspective as a photographer? MATTHIAS: It was something like a Studium Generale. I was just 17 years old and came from a middle-class family and a small-town environment. The company of teachers and students, many a little off track, looking better than I knew it, was pure inspiration. The freedom to try out different creative disciplines alongside theoretical subjects such as art history and perceptual psychology are formative influences. Getting to know different aesthetic positions opened up a field of possibilities that still resonate today. TPL: What role does storytelling play in your photography, and how do you balance narrative with visual aesthetics? How do you approach the process of capturing the essence of human emotion in your photographs? MATTHIAS: This is a good question but not an easy one to answer. Many of my photos are still strongly influenced by the aesthetics of cinema. This is where the roots and key to my photography lie. It is these moods and the rhythm that are inherent in films and literature. When I look at documentary photos, I always make up a story about them. I see the scenes with their history and their future. Of course it's all fantasy. This creates new images in your head. Photos are the congealed part of a story. TPL: What advice would you give to aspiring photographers who are looking to develop their own unique artistic voice today in photography? MATTHIAS: Neglect the flood of digital images. Check out photographers' monographs. There is more excellence here. TPL: Can you share any memorable anecdotes or stories from your experiences as a photographer? MATTHIAS: In the 90s I drove across northern Italy with a friend to photograph the wonderful grave sculptures in cemeteries. After a week we had a day at the beach. When we got back to the camper, it had been broken into and our equipment and all the exposed films had been stolen. We only took our 35mm cameras with us so we wouldn't miss any subjects on the beach. However, large and medium format cameras were also among the stolen goods. We then visited the same cemeteries again to repeat the recordings. A fallacy. Photographs are always tied to a singular event. All newly taken pictures were missing something. The magic of the first perception was lost. TPL: Looking back on your journey as a photographer, what are you most proud of accomplishing, and what do you hope to achieve in the future? Any projects or ideas you are excited to explore? MATTHIAS: When I look back, all the photos form a quartet of memories of my life. I mix and re-arrange the images every now and then. It's always a different version of me. This quartet is still missing a few cards. Let's see which ones come along. When I look back, all the photos form a quartet of memories of my life. TPL: Can you share any insights into the technical aspects of your photography, such as your choice of equipment or preferred shooting techniques? MATTHIAS: I took analogue photographs until the 2000s. 35mm, medium format and large format were used depending on the subject. Today it is mainly digital full format and medium format cameras. A Mamiya 7 was my constant companion for a long time. A viewfinder camera has the great advantage that you can look beyond the subject and are not immediately limited to a section that excludes everything else. Even with digital cameras, I rarely look through the electronic viewfinder. I keep an eye on the scenery via the screen. TPL: Could you describe your creative process from conceptualization to execution when working on a new series? MATTHIAS: It's more of a chaotic approach. If you, like me, have been photographing for many years, you'll always end up with images that suddenly fall out of the camera outside of your own redundancy. Vague fragments that slowly develop as sediment into something that can be walked on. I often feel bored with certain topics. Perception is an open system. TPL: How do you choose your subjects or scenes to photograph, and what draws you to them? MATTHIAS: It's something like a matrix. They are reflexive and anticipatory reactions. A mélange of everything seen from dreams, books and films filtered through heart and experience. TPL: What is your takeaway from the work you do? In what ways has your photography evolved over the course of your career, and what factors have influenced these changes? MATTHIAS: In the analogue phase of photography, it was hardly possible to give the images a special look beyond the choice of film material and photo paper in post-production. The possibilities today are comparable to painting. The color grading and the selection of papers and printable substrates seem limitless. The way of taking photos, however, is almost unchanged. It seems to be something native to the language. If you haven't learned to dream in another language, your worldview and world experience are set. TPL: If you could work with any photographer for a day, from any time period, who would that be and why? What would you want to learn from them? What would you like to share with them? MATTHIAS: There is this saying: “A real voyage of discovery does not consist in seeking new lands, but in seeing with new eyes.” I would want to have a very long conversation with him about how he thinks about life. After all, we don't photograph what we see, but rather what we are. TPL: When you're not creating your visual stories, what does Matthias Gödde do for leisure? MATTHIAS: Waiting for the time when I can create visual stories. Matthias Gödde's photographic journey is a compelling testament to his passion, persistence, and creative vision. With a background in visual communication and a profound appreciation for the aesthetics of cinema and literature, Matthias has developed a unique perspective as a photographer. His photographs transcend mere images; they are intricately woven narratives, inviting viewers to explore the stories behind the scenes. As Matthias continues to evolve as a photographer, he embraces the boundless opportunities presented by digital photography, while remaining steadfast in his commitment to the authentic language of his art form. For him, photography is more than just a profession; it is a way of life, a medium through which he captures the essence of the human experience and offers viewers a fresh perspective on the world. VIEW MATTHIAS' PORTFOLIO Website >>> Instagram >>> read more interviews >>>

I find immense fascination in the everyday tapestry of life, where I uncover meaningful narratives by borrowing expressions from those around me, capturing raw and unscripted moments. Then, I stumbled upon the art of street photography. With my camera as an extension of my vision and my motivation to observe, I weave stories from chance encounters, blending them with the extraordinary photographic experiences born of happenstance. Despite my daily eight-hour work schedule, my day job and my passion for street photography have found a harmonious coexistence. Street photography infuses vibrancy into my ordinary existence. The more I immerse myself in the craft, the better I become as a person, even in navigating the day-to-day decisions at work. It serves as a wellspring of inspiration, propelling my growth and improvement. ROWELL B. TIMOTEO ARTIST'S STATEMENT // I find immense fascination in the everyday tapestry of life, where I uncover meaningful narratives by borrowing expressions from those around me, capturing raw and unscripted moments. Then, I stumbled upon the art of street photography. With my camera as an extension of my vision and my motivation to observe, I weave stories from chance encounters, blending them with the extraordinary photographic experiences born of happenstance. Despite my daily eight-hour work schedule, my day job and my passion for street photography have found a harmonious coexistence. Street photography infuses vibrancy into my ordinary existence. The more I immerse myself in the craft, the better I become as a person, even in navigating the day-to-day decisions at work. It serves as a wellspring of inspiration, propelling my growth and improvement. LOCATION La Union PHILIPPINES CAMERA/S Fuji Xpro2, Fuji XA3, Realme 6 pro smartphone CATEGORY street @ROWELLTIMOTEO @ROWELL.TIMOTEO.7 FEATURES //

PICTORIAL STORY PICTORIAL STORY April 23, 2021 EXCLUSION ZONE SEARCHING FOR CLUES IN CHERNOBYL Photography and story by Sophie Linckersdorff Introduction by Karin Svadlenak Gomez Sophie Linckersdorff is a German photojournalist and documentary photographer. She is currently based in Munich and in Berlin. Since 2018 she has been studying Photo Design at the University of Applied Sciences in Munich. She mainly works in the field of portraiture and documentary photography on personal long term projects and international editorial assignments. Her projects have received several awards and she has had diverse exhibitions. Sophie shared with us a stunning set of photos from the Pripyat Exclusion Zone in Chernobyl, where she photographed the remains of the former human presence. “Man lives with death, but he doesn’t understand what it is.” - Svetlana Alexievich Voices from Chernobyl: The Oral History of a Nuclear Disaster THE HISTORY Thirty five years ago, on Saturday, 26 April 1986, the No. 4 reactor in the Chernobyl Nuclear Power Plant, near the city of Pripyat, a Soviet city built especially for the power plant workers in the north of the Ukrainian SSR, then part of the Soviet Union, exploded. What happened was an uncontrolled nuclear chain reaction during a safety test that went terribly wrong. To this day it is considered the worst nuclear disaster in history. When a large amount of energy was suddenly released, two explosions broke the reactor core and the building housing it. For about nine days following the accident, the reactor fire that followed spewed highly contaminated nuclear radiation into the air. The radioactive pollution spread through winds across parts of the USSR and much of northern and western Europe — but the accident was kept a secret from other countries for days. It later turned out that the KGB had received reports on numerous structural and construction quality issues and deviations from the original design of the plant since 1973, but the Soviet government failed to act on it. Because of increasing environmental radiation levels, initially an initial 10 kilometre radius exclusion zone was later expanded to 30 kilometres. Evacuations from the most affected city of Pripyat did not take place until 36 hours after the accident. By that time many people had been hospitalised with radiation sickness. Later, hundreds of thousands of people were evacuated from the most severely affected areas in what are now the independent states of Belarus, Ukraine and Russia, and an area of more than 4,000 square kilometres lies largely abandoned, though some people have returned. The social consequences continue to be felt. A small number of people even continue to live in the most polluted areas. The damaged reactor itself has been encased in a steel structure to keep further radiation within. Plants and wildlife have taken over areas that were abandoned by humans. Scientific research on pollution levels has been continuing, and some think it may be safe to live in the area except for the pollution hotspots. In direct response to the Chernobyl disaster, the Vienna-based International Atomic Energy Agency initiated the creation of a Convention on Early Notification of a Nuclear Accident, and this now binds signatory member states to provide notification of any nuclear and radiation accidents that could affect other states, along with the Convention on Assistance in the Case of a Nuclear Accident or Radiological Emergency. In recent years Pripyat was deemed safe for short visits and has now become one of Ukraine's tourist attractions, with visitors coming to experience and photograph this "lost place". Sophie was one of them, and this is her photo essay. The sun is shining. No smoke, no gas. There is no shooting. Is that a war? And yet we are refugees. The familiar world - an unknown world, ” said an evacuated woman in 1986. Death lurked everywhere, but this death is somehow different. Radioactivity is invisible, silent and tasteless. The explosion of the Chernobyl nuclear reactor on April 26, 1986 devastated millions of people in the Ukrainian-Belarusian border area. Since then, Chernobyl has been one of the world's collective nightmares. The catastrophe was beyond human imagination. How could one put the immeasurable suffering into words? What is most memorable in Chernobyl is life "after": Cities without people, houses without people, relics of human existence. One wonders: what is it - past or future? My first trip to the zone: It was December 2019. Birds sang, the trees bore needles, cities and villages lay before me. Everything looked very familiar. But something was missing: the people. Decaying relics bear witness to a high-tech city that flourished at the time. With this photo journalistic work I would like to stimulate thought as well as to commemorate the countless victims of the man-made catastrophe. I see the depicted morbidity as a memorial, against an unconditional technology piety. view Sophie's portfolio Read an interview with Sophie >>> Instagram >>> Sources used in story - BBC, Chernobyl | The end of a three-decade experiment Wikipedia | Chernobyl Disaster The views, thoughts, and opinions expressed in the text belong solely to the author, and are not necessarily shared by The Pictorial List and the team. read more stories >>>

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

Ever since I remember myself I loved photography. In school I was the class photographer. Later on my subjects were my family and the countries where I lived or travelled to. I have a Masters Degree in psychology and I later studied photography. My Aesthetics of Photography professor, Laura Dodson @lauradodsonphoto, always professed, ‘don’t photograph babies, pretty young girls or sunsets, as these subjects are beautiful in themselves and you don’t need to make any effort or put any thought into capturing them. Also, Laura encouraged me to exhibit during my studies and I never stopped since. I usually make a book to complement my exhibition. From the eight books that I have published, three were published for special events and the rest accompanied my exhibitions. My last book, ‘Casablanca’, was published for the exhibition of the same name at Benaki Museum of Islamic Art in Athens. I contributed my photos for the book ‘Quartier Réservé’ or ‘Red light District’ under the direction of Jean-Francois Stazsak and Raphaël Pieroni, which was done for an exhibition scheduled for April 2019 in Casablanca and later in Geneva but was postponed indefinitely because of the pandemic. In Casablanca I belong to an association called Casamemoire, which was created to safeguard of Casablanca’s heritage. In 2015 I photographed Casablanca as our goal was to include Casablanca’s twentieth century architecture among the World Heritage Sites. I also photographed the interior of the buildings, which gave me the opportunity to talk to people, to get acquainted with their everyday lives and understand the reasons why they effected changes in the buildings. This experience was beneficial in helping me overcome my apprehension and shyness when asking people on the street if I could take a picture of them. I am a people photographer and I tried to include pictures of people in the architectural photos as much as possible, which was what the UNESCO committee really liked. A couple of years ago I started posting pictures on Instagram. I enjoy it but find it involves much more effort than I expected, and leaves little time for my other photographic activities. I am grateful to Sean Tucker who through his YouTube channel, helped me put Instagram into perspective. MELITA VANGELATOU be inspired Gallery // ARTIST STATEMENT // Ever since I remember myself I loved photography. In school I was the class photographer. Later on my subjects were my family and the countries where I lived or travelled to. I have a Masters Degree in psychology and I later studied photography. My Aesthetics of Photography professor, Laura Dodson @lauradodsonphoto, always professed, ‘don’t photograph babies, pretty young girls or sunsets, as these subjects are beautiful in themselves and you don’t need to make any effort or put any thought into capturing them. Also, Laura encouraged me to exhibit during my studies and I never stopped since. I usually make a book to complement my exhibition. From the eight books that I have published, three were published for special events and the rest accompanied my exhibitions. My last book, ‘Casablanca’, was published for the exhibition of the same name at Benaki Museum of Islamic Art in Athens. I contributed my photos for the book ‘Quartier Réservé’ or ‘Red light District’ under the direction of Jean-Francois Stazsak and Raphaël Pieroni, which was done for an exhibition scheduled for April 2019 in Casablanca and later in Geneva but was postponed indefinitely because of the pandemic. In Casablanca I belong to an association called Casamemoire, which was created to safeguard of Casablanca’s heritage. In 2015 I photographed Casablanca as our goal was to include Casablanca’s twentieth century architecture among the World Heritage Sites. I also photographed the interior of the buildings, which gave me the opportunity to talk to people, to get acquainted with their everyday lives and understand the reasons why they effected changes in the buildings. This experience was beneficial in helping me overcome my apprehension and shyness when asking people on the street if I could take a picture of them. I am a people photographer and I tried to include pictures of people in the architectural photos as much as possible, which was what the UNESCO committee really liked. A couple of years ago I started posting pictures on Instagram. I enjoy it but find it involves much more effort than I expected, and leaves little time for my other photographic activities. I am grateful to Sean Tucker who through his YouTube channel, helped me put Instagram into perspective. LOCATION GREECE CAMERA Leica CATEGORY documentary, street @MELITAVANGELATOS FEATURES //

As a photoartist born on the border of China and Russia in the Far East, my artistic journey has been shaped by a range of experiences. Having moved frequently, I found that the shifting environments fueled my creativity, pushing me to explore the depths of human emotion through my work. When my initial economic profession lost its spark, I turned to photography, discovering a medium to express my thoughts and feelings. My work delves into the influence of color on human behavior, revealing how hues can evoke memories and shape perceptions. Embracing an interdisciplinary approach, I incorporate techniques such as embroidery, appliqué, and collage, weaving together textures and layers to create images that resonate on multiple levels. Currently, I am immersed in an art project that combines long exposure photography and light painting, capturing moments and transforming them into narratives. Through this exploration, I aim to invite viewers into a dialogue about the interplay of light, color, and the human experience, encouraging them to see the world through a different lens. ANNA TUT ARTIST'S STATEMENT // As a photoartist born on the border of China and Russia in the Far East, my artistic journey has been shaped by a range of experiences. Having moved frequently, I found that the shifting environments fueled my creativity, pushing me to explore the depths of human emotion through my work. When my initial economic profession lost its spark, I turned to photography, discovering a medium to express my thoughts and feelings. My work delves into the influence of color on human behavior, revealing how hues can evoke memories and shape perceptions. Embracing an interdisciplinary approach, I incorporate techniques such as embroidery, appliqué, and collage, weaving together textures and layers to create images that resonate on multiple levels. Currently, I am immersed in an art project that combines long exposure photography and light painting, capturing moments and transforming them into narratives. Through this exploration, I aim to invite viewers into a dialogue about the interplay of light, color, and the human experience, encouraging them to see the world through a different lens. LOCATION Krasnogorsk City RUSSIA CAMERA/S Nikon D780 CATEGORY fine art, ICM, abstract, portraiture WEBSITE https://annatut.com/ @TUT.ANNA FEATURES //

I am a Melbourne based photographer specialising in street. Always on the hunt for strong composition elements, rich (but sparing) use of colour and deep shadows to create mood and tell stories. I love to show the wonderful City of Melbourne, Australia, in new ways that will surprise and intrigue. ADAM SINCLAIR be inspired Gallery // ARTIST STATEMENT // I am a Melbourne based photographer specialising in street. Always on the hunt for strong composition elements, rich (but sparing) use of colour and deep shadows to create mood and tell stories. I love to show the wonderful City of Melbourne, Australia, in new ways that will surprise and intrigue. LOCATION Melbourne AUSTRALIA CAMERA Fuji XT30 CATEGORY street @_ALIGHTFANTASTIC_ FEATURES //

INTERVIEW INTERVIEW March 30, 2020 A LIGHT FANTASTIC Photography by Adam Sinclair Interview by John St. Adam Sinclair is a Melbourne based photographer whose arresting street photography captures the vibrancy and culture of the city in captivatingly creative ways. Throughout his works, he skillfully employs intense colors and deep shadows to craft mesmerising compositions that evoke strong emotions and tells a story. Evocative, enigmatic, and full of surprises, Adam's photographs bring to life the streets of Melbourne, inviting viewers on an exploration of the city like never before. With a passion for capturing the underlying beauty and spirit of his hometown, Adam has become renowned for his captivating photographic artistry that captures the essence of the city in a unique and unforgettable way. “I started in black and white doing mostly street portraits and reportage. Now I look for strong composition elements, fascinating humans and great colours of course!” IN CONVERSATION WITH ADAM SINCLAIR THE PICTORIAL LIST: Adam, please tell us when the spark started for photography? ADAM SINCLAIR: Some friends bought me a photo book about Henri Cartier Bresson ten years ago, so I spent the next several years with a camera being awful. Though I didn’t really get into street photography until October 2019. TPL: Where do you find your inspiration? AS: I love the colours and textures of urban centres. So many unintentionally beautiful scenes! Also fashion for me is a huge inspiration, I find it endlessly amazing looking at what people wear, and how they wear it. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AS: I adore Saul Leiter especially ‘Early Color’. He was mostly responsible for my transition from black and white to colour. And my talented friends on Instagram are a daily dose of inspiration. (they know who they are!) TPL: Where is your favourite place to shoot? AS: My home town of Melbourne inspires me always. I think doing street made me fall in love with the place all over again. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? AS: No. Some of my favourite images have been shot on a phone. I think vision and a keen eye for detail, shape, line, texture, light and shadow are the most important. I would say…just go and shoot! We can’t improve if we don’t press the button! Everything I know, I know from asking questions. - Socrates TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? AS: Curiosity. Fascination. Patience… And a love of people! Oh, and a dash of confidence for good measure. TPL: Have you ever been involved in the artistic world before photography? AS: Yes, I spent some time as a designer in my much younger years. I’m also a singer. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? AS: My website ‘Indistreet’ is my current project that will be an amalgamation of photography, short stories and a store, should people ever want something for an empty wall. Watch this space. TPL: "If I wasn't photographing what would I be doing?... AS: Hmm, probably singing under a bridge somewhere by the river collecting meagre donations haha!" Adam's passion for his home city of Melbourne is evident in his work, which highlights the beauty of the city through strong compositions, a knowledge of light and colour, and striking contrasts. His artistry is truly remarkable and is sure to inspire any onlooker. If you want to experience the world as Adam sees it, connect with him through Instagram and explore his unique view of the city. VIEW ADAM'S PORTFOLIO Instagram >>> read more interviews >>>