JOY AND THAT SOMETHING MAGICAL IN INDIA A feeling of joy and that something magical are reflected in Catherine Naylor Leyland's photographs from her experience at Holi in India. JOY AND THAT SOMETHING MAGICAL IN INDIA July 6, 2020 INTERVIEW PHOTOGRAPHY Catherine Naylor Leyland INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE British photographer Catherine Naylor Leyland is inspired by her family, her love of travel, sunshine, people, architecture, shapes and colours. She is always thinking about composition, details and space as though she is looking through a frame. Catherine was in India for the festival of Holi, earlier in the year, just before lockdown due to Covid-19. She chose the following photographs to reflect her feeling of joy and that something magical she sees that the people and places of India inwardly possess. The sensory overload of colour, smells, noises, and the taste. “I was in India for the festival of Holi. I chose them because they reflect the feel of something magical that the people and places of India inwardly possess. It makes me feel joy. My photography is my escape just unfortunately not my career. I have studied it both practically and academically. I have worked for photographers and others that use imagery to compliment their work, but I have a family so my photography is my companion that just bubbles away beside it all.” IN CONVERSATION WITH CATHERINE NAYLOR LEYLAND THE PICTORIAL LIST: Catherine, when did you start getting interested in photography? CATHERINE NAYLOR LEYLAND: My father bought a collection of 22, 11 x 14" black and white prints in the 1960s when he was in Borneo as a soldier. All were by a photographer known as K F Wong. They were hung on our wall and I absolutely adored the story of another world they collectively told. TPL: Where do you find your inspiration? CNL: My family, my travels, the people I meet and the places they keep are what inspire me and enthuse me. But then I have always been more visually curious. I like colours, tones, shapes and faces. TPL: Who are your favourite artists/photographers? CNL: I have many names of photographers that I admire and inspire me. Dorothea Lange, Sebastiao Salgado, Fan Ho, Don McCullin, Jimmy Nelson, Alex Webb, Vivian Maier, Lee Friedlander, and Russell Lee. I really like the work of Maude Bardet, Isabel Corthier, Eva Erdmann, Emily Garthwaite, Julia Coddington and India now has a scene of current photographers; from Pablo Bartholomew, Vineet Vohra, Rohit Vohra, Soham Gupta and Suresh Naganathan. TPL: Has your style of shooting changed since you first started? CNL: I used to use medium format film and always black and white. I was into Bill Brandt and Edward Weston. Currently, I only see in colour. I get depressed in shades of grey! TPL: Do you have a favourite place to shoot? CNL: I like to be in India. I have a certain visual, sensory and emotional attachment to it. The colours, textures, textiles, faces, and it's places. My family, my travels, the people I meet and the places they keep are what inspire me and enthuse me. TPL: Do you think equipment is important in achieving your vision? What would you say to someone who was just starting out? CNL: A camera is a camera. But nothing beats a quality lens. Phones these days take great images and enable someone starting out to think about composition and frame rather than technical functions with bulky apparatus. I used to use film camera initially and now have a Canon with a fixed lens, having used two zooms with it before. So equipment does help but it's all about what what works for you and your eye. And, yes, my camera is very bulky. TPL: What characteristics do you think you need to become a good photographer? Any tips or advice for someone just starting out? CNL: Being passionate about what you do is personal and at times hard to be subjective without looking at your image with its attached memory. You have to as a photographer let the image speak for itself and at the same time have faith in your creative choices. TPL: Have you ever been involved in the artistic world before photography? CNL: Yes I have always worked with images, just not my own. I've worked for photographers and previously I have assisted on shoots. Recently I have collated the images of a fashion journalist which she shot on disposable cameras, spanning 20-30 years ago. TPL: Are there any special projects you are currently working on? CNL: I would like to go to Borneo and see the places in the photographs that I mentioned earlier. And learn more about Ken Foo Wong. TPL: “When I am not out photographing, I (like to)… CNL: Be seeking the sun..” From Catherine's photographs from Holi in India, we can feel the joy and the magic of the experience. To see more of Catherine's photographs from her travel please connect with her on Instagram or through her website. VIEW CATHERINE'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

18 >> 20 Elsa Arrais composed a simultaneously artistic, emotional, poetic and imagery portrait of her city in a predetermined period of time. 18 >> 20 October 18, 2023 INTERVIEW PHOTOGRAPHY Elsa Arrais INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Elsa Arrais is a photographer living and creating impressive work in Leiria, Portugal. Born in Vila Nova de Famalicão, Elsa has become a beautiful thread in the tapestry of Portugal. With a background in Engineering, her attraction to visual arts emerged almost imperceptibly and gradually photography became her means of expression and artistic object. Elsa is married and the mother of two beautiful children, living and being inspired by the intricacies of the city of Leiria. Here Elsa has forged a path for her photography by embracing the artists and writers that bring life and character to Leiria in new and exciting ways. In 2021 began an important journey in photography contributing to the collaborative group Fotographar Palavras, and becoming an integral part of their project. Fotographar Palavras is a group founded by Paulo Kellerman, that combines the talent of writers and photographers, engaging them to collaborate on translating words into photography. Elsa shares her inspiration. “Since 2021, I have contributed to the Fotografar Palavras project, where I often search the self-portrait for the defining elements of meaning. With a predilection for minimalist black and white, my visual exploration is guided by local and temporal ephemera, transforming the peculiarities of the details that I find, in the streets I wander, into brief windows, fragments or reflections of memories and personal essences.” Despite all these years living in Leiria, Elsa never felt a real connection with the city. As a mother of two children, it can be hard to find time to call your own, to focus on what inspires you as an artist, and to commit to making the time to create work. These disconnections became the motivation for the photographic base concept of this project ‘18>>20’, which was conceived to embrace these challenges, and create meaningful work. Elsa shares the creative and critical thinking processes that helped her breathe life into her project and give it a powerful direction. “This project emerged with the intention of connecting me with the city and naturally with myself. The use of a 28mm lens served to reinforce this aim of proximity and intimacy with the city, both metaphorically and technically. From this reflection of my relationship with the city, capturing both details and subtleties as well as the city's identity marks, at the end of this project I came across a series of images that subtly lead to a city-shelter. This theme ended up being as personal as it was universal and will therefore serve as the basis for a cycle of reflective conversations developed in partnership with the municipality of Leiria, publisher of the book.” With critical thoughts and ideologies in place, the creative process becomes the focus. Elsa was driven to make the commitment to create this work in a meaningful way. “During one year, always at the same time of the day (between 18 and 20 o’clock), I wandered around the city and photographed Leiria freely. I created a collection of hundreds of images, composing a subtle and emotional portrait of the city, capturing details and subtleties, permanence and mutations, the subtle identity marks that define the soul of constructions and nature, of spaces, of people. From each weekly selected photograph by Paulo Kellerman, he created a brief text (amalgamation of fiction, philosophical reflection and poetic narrative) that offers new possibilities of reading for those images. The aim of this collaborative work (52 weeks, 52 photos, 52 texts) was to compose a simultaneously artistic, emotional, poetic and imagery portrait of the city in a predetermined period of time, in an intimate relationship between emotion and reflection, urbanism and privacy, collective and individual, space and time, image and word.” One can make a significant statement through their personal work, while sometimes the power can be amplified by combining artistic energy and vision from another artist to create an entity larger than oneself. This was the dynamic and inspiration for both artists to produce this relevant work together. Elsa explains the relationship between her and Paulo Kellerman, and how effective they have become at exchanging artistic concepts and visions through photography and word. “Fascinated by the various readings, interpretations and meanings that are normally attributed to my photographs by observers, already collaborating at the time in a project that combines literature and photography and being an avid supporter of multidisciplinary and interconnection of various artistic expressions, the partnership with the local writer Paulo Kellerman came naturally. Mutual respect and trust in individual works allowed us both to be free in the process of creating images and texts. And it was from this freedom, trust, interconnection of interpretations, individual complicities with the city and complicities between photographer and writer that a new vision as collective as personal was born, created week after week. This process culminated in the publication of a book where growth and discoveries are shared.” Paulo Kellerman shares his experience collaborating with Elsa on this project together. “The project 18 » 20 was an amazing creative experience, based on the complicity between writer and photographer. We had time for this project, and that was very important to us: to have the opportunity to think about and discuss the project, to experiment, to see how it slowly materialized. Elsa is very enthusiastic, very determined, very challenging, very cooperative, very generous; it was an enormous pleasure to work with her and I think it shows in the book. I'm very proud of the work we achieved and also of the way we did it, the process in itself. It was a perfect example of co-creation: sharing and creating together, harmonizing points of views and aesthetics, learning with the other, putting the best of each one in the pursuit of a common goal.” Elsa has created new pathways she follows through the streets of Leiria with her photography. She has embraced a philosophy and vision that inspires her to utilize photography in meaningful ways to create important work. As an artist and photographer, she works with clear vision, and an open mind to learn more and to be influenced in creating new ways of seeing and understanding the world around her. “We exist in a present where photography is as accessible as it is conditioned. Accessible to everyone at the touch of a cell phone but restricted in many contexts to those who want to use it in the shared space as a form of artistic expression. Based on this dichotomy, Elsa Arrais searches in the commonplace of everyday life for a voice that many times echoes beyond the expressiveness of a face; her search for notable physical expressions, as well as places' identity details, seeks to establish words capable of awakening emotions and imaginary (and imagery) interpretations in external observers, usually keeping the identity and intimacy of those portrayed intact. The result of this balance between technique, emotion and delicacy is the creation of an ambivalent language dictionary, as complex as it is simple, which oscillates between light and shadow, geometry and emptiness, being and its outer contour, the concrete and distortion; between what remains immutable and what continues under construction; between freedom and repression. As an existential metaphor, this dictionary continues its quest for permanent growth and mutation, in the hope that one day it will become extinct or transformed into a grammar that, complete in itself, forms part of the universal language of images of the present in which we exist. The present where photography is as accessible as it is conditioned, and therefore needs dictionaries.” The Pictorial List asked Elsa some questions about her as a photographer, and co-creator of project and book ‘18>>20’. “I truly aim for the viewer to be drawn into the city of Leiria and walk in it, along with us, having a temporal journey and identifying the subtleties we came across during the one year. I wish this work can make them question their own relationship with this city and with their home cities. And also hope that, amplified by Paulo Kellerman’s words, the viewer can get carried away by imagination and create their own stories and interpretations around the shared pictures projecting this skill to others' photos.” IN CONVERSATION WITH ELSA ARRAIS THE PICTORIAL LIST: Hello Elsa, thank you for your insight into your inspiring project. Tell our readers a little about yourself and the important role that photography has come to play in your life. ELSA ARRAIS: I come from a typical middle class Portuguese family. For as long as I can remember, photography has always been present in our lives. In my parents' house I could always find framed photographs on dressers and walls. I remember my father showing photo-slides of significant family moments, seeing organized family photo albums and, later, seeing my brother experimenting with slow shutter speed or printing his photographs in an improvised darkroom at my parents' house basement. I was about sixteen years old when my brother gave me my first camera, a film point and shoot, easy to use but with a significant dimension in my ability to immortalize moments. I suppose I've always had a part of me connected to the visual aspect of the world around me, but at that time I still couldn't recognize it. This legacy of keeping significant moments in the form of photography continued to accompany me over the years and with the birth of my first daughter it was amplified, challenging me to explore and improve the photographic technique. With the arrival of Covid-19, and with it the first lockdown, the impossibility of visiting my parents and them going out led me to document the small hygienic walks, with the aim of bringing them a little of the beauty of a world they were prevented from seeing. In the beginning, they were photographs of small details that captured my attention, but as people returned to their daily routines, I began to become interested in including the human figure in my images, finally discovering my interest in street photography. On this trip I met extraordinary people with common interests, who helped me shape the artistic path I have been following. Today I can no longer imagine going out without a camera and, although there are many moments when I go out objectively to photograph for projects, it is still in the most unexpected moments that I manage to see and find the most special images. TPL: How hard was it to devote a commitment of time to balance your creative work in photography and your love for your family and the unsurmountable work that can be 24/7. Do you think it is essential for women, or men that care for their families to make this time for themselves, and if so, why? EA: It is definitely essential for anyone to have the possibility of using time for themselves in order to maintain an inner balance that allows them to remain persistent, tolerant and kind towards those around them on a daily basis. On a personal note, it was precisely photography that allowed me to balance both worlds, hiding behind the camera and using it as a physical and emotional barrier to create brief moments of detachment from family routines, even while within them. TPL: How have you grown as a person from these two hours a day, as a photographer, as a mother, as a citizen of your community? How has your family grown from this experience? When I walk through the streets of the city of Leiria, I finally feel the sensation of knowing every corner and alleys. The streets now have names, images, many stories and questions associated with them. The city is no longer just a city, it has become mine, both through the moments spent there and through seeing and reviewing the images collected and the texts created by Paulo Kellerman for them. I now understand that to have a sense of belonging, even in the case of a city, personal openness and genuine dedication are necessary. In Portugal, the time range in which we developed the 18 » 20 project includes approximately seventy percent of the year twilight or night light, which means that as a photographer I was able to widely explore low-light environments. The fact that Leiria is a relatively small city forced me to pay extra attention in order to obtain original perspectives and images week after week, making it a demanding exercise that cuts across all my photographic explorations. I often jokingly say that eighty percent of my photographs were taken with someone saying they are hungry, thirsty or need to go to the bathroom, as my children often accompany me on my photographic explorations. This project was no exception. Even so, it was never an impediment to facing it with dedication and rigor, quite the contrary, it proved to be an exercise of patience and joint growth. They were part of my vision, sometimes within the photographs, sometimes forcing me to see what my adult vision often doesn't see. My children are also co-authors of the look that is reflected in the images I produce. Deeply grateful for their precious help, when I make these forays into the life of the city, I also hope to illuminate the path to the possibilities of personal expression and forms of artistic contribution to the community. Despite the reflection on my relationship with the city being something personal ended up proving to be universal. The municipality's interest in holding a cycle of conversations on the topic of Leiria city-shelter is clear evidence of the impact that this work had on the city management responsible and that it will certainly continue to happen on the Leiria community. TPL: Since your work on this project, have you made connections to communities you did not have before, if so, explain what they are and the value or difference they have made in the way you engage your community now. EA: Regardless of having connected myself to the city itself, being a shy person, I still feel that I haven't connected myself to the humans of Leiria community. Hopefully it may happen within the cycle of conversations. Despite this, it has led me to get involved in several different projects, where I have been using all the growing know-how from this project and making me take a next step into the photography world by talking and getting to know the local people. TPL: Can you tell our readers what collaboration and working on projects have done for you, and the importance of setting goals, and committing to achieving them. EA: For me, working on both individual and collective projects is a process of permanent learning. I always try to work on something meaningful, so it becomes intuitive to maintain focus and motivation, and the work flows naturally, especially on long-term projects. Challenging myself to step out of my comfort zone is also something I try to do with each project. This helps me to continue studying and exploring more about photographic techniques, other arts, places and people. When I deliberately challenge myself, I know I'm going to do something I've never done before, I overcome my mental barriers and technical knowledge, which usually results in truly rewarding meaningful images. Working objectively for projects, whether individual or collective, also helps me to establish visual priorities when I go out and to be methodical about categorizing the photographs that I regularly add to my image collection. However, for a project to come to fruition, a certain degree of commitment is always necessary, and the first step is to clearly establish the objectives and methodology. Nevertheless, the biggest benefit I derive from involvement in all projects is undoubtedly personal. They have been a beautiful way to rediscover myself and meet other people. 18 » 20 is a clear example of this and would not have been possible without the complicity created with Paulo Kellerman. Despite the reflection on my relationship with the city being something personal ended up proving to be universal. TPL: What is some advice you can share about working on projects, and working with other people? What are some of the challenges you have come across, and how did you address them? EA: As I mentioned previously, I like to see each project as a learning process. Coming from the science field, I am always aware that the mutation and evolution of objectives throughout the implementation of a project is part of the process. This is essential for work with more significant and better results but, above all, for us to be able to be motivated. From my experience, in transdisciplinary collective projects it is important to maintain flexible thinking, without too preconceived ideas so that we are open to new perspectives and able to adjust to the ideas that emerge from the collaborative environment. This flexibility helps us learn more from individual shares, creating the right environment so that everyone can be surprised by the best of their contribution. The biggest challenge I faced in collective projects was managing individual expectations. This happens mainly in projects that involve several people with equal decision-making power, which is why I emphasize the need not to idealize something too personal and concrete when joining a work group. As an example, I can mention a project in which I participate, and which involves thirteen people. Managing expectations regarding the materialization of the project has been somewhat delicate and the solution we found to speed up decisions was to work in an open manner, where the choices approved by the majority of participants are in force. It's not the perfect solution but it's respected by the entire group, and it works. 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? EA: The history of photography is full of interesting people, with whom I would love to share a day with, so it is very difficult to answer this question in a few words. Having to choose, I will opt for some of the classics and first of all I have to say Josef Koudelka. I am fascinated by his images, by the intimate relationship he managed to create with the gypsy community, by the peculiar relationship he shows with architectural aspects, by the mix of rawness and poetry he achieves in each photograph, by his simpler and complex compositions. I would love to spend a day with Saul Leiter, in a way his magnificent compositions show a certain shyness, with which I particularly identify myself, giving them a touch of intimacy in both his color and black and white work. André Kertész would also be one of those chosen, as I really like the way he used distortions to create surrealist images, decontextualized objects and used small surprise elements in his compositions. The use of small format prints also makes all your work special. As we are speaking of the Masters of Photography, I am positive that if it would be possible, I would rather learn than share. TPL: You are heavily influenced by the written word, what are some of your favorite authors, what inspires you in their words? EA: I confess that a great influence on my way of observing comes from the fact that I am an avid consumer of children's literature. Over the last twelve years I have spent a lot of time collecting and reading stories with my children by authors such as Leo Lionni, Hervé Tullet, Oliver Jeffers, Eric Carle, Jimmy Liao or Ana Juan. In these illustrated books the dynamics of composition, light and color serve a text, often very graphical and minimal. On a page, an image and a sentence, sometimes just a word, sometimes just the image, say it all. And it is in this world of saying a lot with little that I move with my camera and try to portray life. Naturally, it is inevitable to talk about the written word and not think about Fotografar Palavras, as it is a project that keeps me connected with the most diverse authors and the most diverse literary expressions. Being mostly made up of Portuguese authors, Fotografar Palavras, in the form of its founder and coordinator Paulo Kellerman, permanently challenges me to give new meanings to my photographs or create unique images with the aim of significantly filling each line presented to me. Once this process begins, for me, any author or phrase can be the target of inspiration and it is extremely rewarding when the perfect words are found to describe an image and vice versa. TPL: Do you have any new projects you are working on that you can share with us? What is their inspiration? EA: I currently have several projects underway. Mostly collaborative and multidisciplinary, in general they encompass themes that I particularly identify with, such as different areas of artistic expression and relationships between people and spaces. For example, in one of the collaborative projects we are exploring critical areas of environmental value. With a theme that is both current and future, it is perhaps one of the most challenging projects I am involved in at the moment. TPL: Where do you see Elsa Arrais in the next five years, what do you hope to achieve, are there any long-term goals? EA: My path in photography has been very natural and spontaneous. My goals have come to life as opportunities arise, and I like that. But in general, I hope to continue meeting interesting and generous people who I can establish new bridges with, challenge myself, share work and complicities, continue to learn and carry out work with its own identity, interesting and meaningful. TPL: When you are not conquering Leiria with your camera, what would we find you enjoying? EA: When I'm not photographing you can find me playing with my children, dissecting photography books, visiting museums and art galleries (especially with my eldest daughter), listening to music, discovering new places and exploring old places. Elsa Arrais has developed an eye and mind for insightful observations that she has learned to define through the lens like poetry, with much symbolism and meaning in her details. Her work is worthy of study, and with a deep look you’ll be swept away and walk the walk of the enlightened and inspired. Elsa has presented in national and international exhibitions and magazines, co-author of the book ‘18>>20’, and currently contributes to several projects that combine literature and photography. Have a look at her portfolio and follow her links for new ways of seeing and thinking about photography. VIEW ELSA'S PORTFOLIO Elsa's Instagram >>> Fotografar Palavras website >>> Paulo Kellerman's website >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. October 26, 2025 INTERVIEW PHOTOGRAPHY Nicola Cappellari INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE In Nicola Cappellari’s work, the photograph is never an endpoint. It does not resolve into certainty or narrative but remains suspended, waiting. His project Analogical Limbo inhabits this threshold, where the photographic act becomes less about representation than about suggestion, less about fixing the world in a frame than about leaving it open for interpretation. A tree pressed against a wall, a cluster of flowers trembling at the edge of a field, laundry drifting in front of barred windows, the faint constellation of leaves floating on water — Nicola’s photographs draw our attention to what is usually overlooked. They are visual footnotes that ask to be read not for what they tell us but for what they allow us to imagine. In this sense, his photographs are closer to invitations than declarations, their meaning completed only when someone else enters them. Trained in philosophy at the University of Padua and seasoned by more than twenty-five years in marketing and communication, Nicola carries into his practice a double awareness: of how images persuade and of how they fail. In stepping away from the compromises of commercial work, he embraced film photography as a way of reclaiming time. A time to wait, to imagine, to be unsettled. For Nicola, the delay inherent to the analogue process is not a technical inconvenience but a philosophical necessity. It creates a space where anticipation sharpens perception, where the act of seeing is infused with uncertainty, and where the photograph becomes an event of waiting. Analogical Limbo does not construct a linear narrative. Instead, it unfolds as a series of fragments, each capable of standing on its own. A photograph of a road bending out of sight does not explain itself; it simply gestures toward distance and disappearance. A pair of swans gliding through a narrow canal is less a document of place than a fleeting allegory of passage. These images resist being tied down to singular interpretations, instead hovering in the indeterminate space between document and metaphor. Nicola himself admits uncertainty: he knows what the project is not more than what it is. It is not a story of place, nor an exercise in technical virtuosity, nor a neatly packaged series. Rather, it is a field of possibility, where every image is provisional, every meaning contingent, every fragment alive with the potential to become a story through the gaze of another. At the heart of Nicola’s practice lies a conviction that photography is a triadic relation: subject, photographer, and, crucially, the observer. It is only in this final encounter that the image becomes truly alive, transformed from a surface into a story. In this sense, he challenges dominant notions of photographic authorship. He refuses the position of the omniscient narrator, instead offering images that are deliberately incomplete, waiting for the observer to enter and co-create meaning. This stance situates his work within what could be called the poetics of the document. It echoes a lineage of photographic practices concerned with ambiguity, incompleteness, and the fragment — not as weaknesses but as conditions of thought. Nicola describes himself as searching for “traces of life where apparently there aren’t any.” This is perhaps the most accurate articulation of Analogical Limbo. His photographs do not seek grand narratives. Instead, they attend to the residual and the almost invisible. These traces, ephemeral yet persistent, become metaphors for resilience against indifference. What matters is not what the photograph shows but what it suggests, what it allows the observer to imagine beyond the frame. It is from this position of openness that we begin our conversation with Nicola Cappellari. In dialogue, he reflects on the philosophical roots of his practice, the necessity of waiting, and the fragile life of images once they are released to the gaze of others. “Film is in fact an analogical limbo where I can slow down and imagine. It embraces my good intentions and even my less good intentions. In the meantime, my ideas take shape, slowly, without rushing. I don’t really know what this work is about, but I do know what it is not. It is not a story made of images because every image can be a story on its own.” IN CONVERSATION WITH NICOLA CAPPELLARI TPL: Your project Analogical Limbo refuses fixed narratives and instead embraces fragments and incompleteness. You’ve written, “I don’t really know what this work is about, but I do know what it is not.” How does this philosophy of “not knowing” guide the way you approach the camera? Do you find freedom in this refusal to define, or does it sometimes create tension in how others read your work? NICOLA: I love that incompleteness you talk about. It’s an opportunity for dialogue between photographer and observer. That’s the way that an image can turn into a very personal story and finally become a real “photo”. To me photography is a sort of co-created flux: there is the photographer, with his sensibility, eye and heart and there are the sensible eyes and heart of the observer. TPL: You’ve described film as a limbo where you can “slow down and imagine,” and admitted you almost shake before seeing the developed images. What does this waiting mean to you in the analogue process? Do you think this delay of revelation brings you closer to the meaning of photography, or is it more about creating space for imagination? NICOLA: What would Newton’s gravity force discovery be without the waiting time? No waiting, no apple, no gravity force. It’s not about a derby between digital and analog technology (of course not), I just don’t fit in with the speed of the digital process, it is too much, too fast, it confuses me, I need time to think, dream, love, imagine. I think the “limbo” we talk about is a very current topic, I think it is the opportunity to reconquer the dimension of waiting, observing, hearing…and finally better managing the velocity of daily life. TPL: In your writing, you say you look for “breadcrumbs that resist against the wind and cold but melt like jellyfish on a hot summer rock when it comes to indifference.” Do you see yourself as a documentarian of these fragile traces, or as a poet working through metaphor? How do you know when such a trace is worth photographing — do you decide, or does the image decide for you? NICOLA: You’ve really caught the core of my attempt. The challenge is to tell life where apparently there isn’t any. Silent signs, everyday objects become stages where life has passed, passes and will pass. Even if not represented with tangible evidence, you can feel it, you can imagine it and build your very own story. This, again, is my romantic vision of a photography made both by the artist and the observer. And then, well yes, I think the object itself has a sort of personal will, I first feel touched from it and then I react with my sensibility. TPL: You speak of photography as a threefold relation: subject, photographer, and, above all, the observer. How do you imagine the observer when you are working — are they always present in your mind, or do they only arrive later, after the photograph is finished? NICOLA: No, when I’m photographing, I don’t think about the observer, and not even about myself. I just float in my bubble, letting myself be enraptured by the scene and follow in love for the moment. TPL: Your background in philosophy and communication means you think deeply about how images persuade and how they fail. How do these two worlds — critical thinking and visual practice — intersect in your photography? Do you see photography as closer to language, or as something that resists words altogether? NICOLA: I’m in love with a kind of photography that’s symbolic and able to give clues without telling too much. In this regard I suppose photography to me is about intuition more than about words. It’s a very personal inner speech which allows me to have a different connection with the world around me. Contemporary communication tends to atrophy in the same way our minds. Everything has been already pre-cut, mixed, poured into specific jars and served to be sucked in a blink of an eye. The risk is to become more uncritical. So welcome to every form of art able to provoke, shake and stimulate the creativity and the critical thinking. TPL: In a world saturated with instant digital images, you choose to remain with film. Do you see this as an act of resistance, or simply as a personal way of inhabiting time? How do you think your photographs might change if you were to work digitally, even just experimentally? NICOLA: Probably I’ve partially already answered, but it’s exactly as you say: a personal way of inhabiting time. I’m fascinated by digital photography potential, but I just haven’t found my way to use it yet. Digital is for me a sort of drug, I take thousands of photographs, I can’t stop, and I can’t focus on my idea. I change my mind quickly and so I change the photos just because I can do it. In a way, I need to be forced not to be able to see, I need time to think and rethink and rethink again those clicks I have in in my mind. When I finally come out from my dark room with that print in my hands is to me a sort of certification and conclusion of my photographic and mental trip. The fear of being superficial pushes me to look for traces of life where apparently, there aren’t any. TPL: Reflecting on your exhibitions and books, from Analogical Limbo to Marea, what has been most important to you: making the images, sharing them, or witnessing how they are transformed by the gaze of others? Do you ever feel that once an image is released, it no longer belongs to you? NICOLA: I love this question, really. The truth is that I can’t separate the phrases you talk about. They complete each other. The idea of evoking an emotion is incredible. To image someone making up his own story thanks to that little piece of me, well, really gives me goose bumps all the time. So, no, I don’t feel the image is no longer mine when it’s released, I just let it go with the hope that it will have great chances to live many adventures. TPL: You have described yourself as a “hopeless romantic” who believes in waiting. After years of pursuing traces, fragments, and the limbo of film, what still feels urgent to you when you lift the camera to your eye? What do you hope your future photographs will offer, both to yourself and to those who encounter them? NICOLA: Hmm...this is the fourth time I have tried to answer this question. To be honest I wish to myself to keep alive the flame of passion a curiosity. If so, I’m sure I will be able to complete the projects I’m working on, and I also think there will be the chance to build new beautiful dialogues with all the ones I will meet on the way. TPL: Let’s talk about the practical side. What’s in your photography bag when you head out? Do you keep it minimal, or do you like having options at hand? Is there one tool — camera, lens, or even a non-photographic item — that feels essential to how you work? NICOLA: Very minimal. In my backpack I have films, a new battery for my exposure meter and (sometimes) a second camera just in case… My number one camera today is a Leica M6 with a 35mm Summicron but I sometimes dedicate other cameras to certain specific projects. For example, I’ve been working on a project (friendly named Home Life Diary) where I use a little point and shoot camera bought for $35 online. A pencil and a little block are always in the backpack pocket because I love to write down my thoughts or sensations connected to…those clicks I immediately believe in. TPL: How do you prepare yourself for photographing? Do you plan your walks and encounters, or do you prefer to let chance guide you entirely? Has chance ever led you to an image that became pivotal in your practice? NICOLA: I’m the person who stops the car on the highway and walks backwards 50 meters because he’s just seen an old shoe on the roadside to photograph. Sometimes I wish I were able to plan something in advance, but I’m not. I just go around with my camera as it was a fashion accessory, even to a job appointment. And, yes, at times fate works with me too, especially when I use my beloved Rolly 35t which has the plus not to be perfect as the Leica one. It's those little imperfections that lets me take clicks without thinking too much. I love how sometimes I 100% work with intuition and just “click” with no reasoning at all. Sometimes I develop the film and discover something I wouldn’t have done with the Leica approach. There are actually many of these photos in Analogical Limbo and I’m really proud of this collaboration with fate… TPL: Having spent decades in communication, how do you think about publishing your work today? Do you prefer physical books, exhibitions, or digital platforms? Do you feel the medium of presentation changes the way a photograph lives? NICOLA: Totally and definitely “book”. A book to touch, to smell, to see in my library. To me there is no photography without keeping something physical in my hands. Exhibitions, presentations, events are great moments because you can really feel other’s emotions, you shake hands (and I really love shaking hands), you meet people, you talk and hopefully drink good wine. And then we have the digital world. Well, you know what? Having an analogical soul doesn’t keep me from appreciating this world. I do appreciate it and I’m discovering how “in the name of passion” it’s possible to jump from virtual friendship to real friendship. I love this and it helps me to be optimistic in a new humanistic era. TPL: When you set the camera down, where do we find you? What else brings you joy or sustains your creativity outside of photography? NICOLA: I live and work on my beloved hill with a big dark dog, a cat, three turtles, a wife and two daughters (not in order of importance). This place is my never-ending source of inspiration and passion. Gather firewood, pruning olive trees, mowing the lawn, taking care of my rare African plants…This place is a sort of daily emotive gymnastic. Then of course there are friends, music, trips… But you know what? Even chopping wood, I always have a camera with me…there could be something in every moment lighting up my imagination and I feel safe bringing a camera in my pocket everywhere. Through Analogical Limbo, Nicola Cappellari reminds us that photography is not about certainty but about possibility. His images are fragments that resist closure, carrying with them traces of life too delicate to name yet impossible to ignore. What he offers is not an answer, but an opening. A chance for each observer to bring their own imagination to the frame. Nicola’s practice is sustained by a devotion to waiting, by a deliberate trust in slowness and imperfection to shape the photograph into something alive. He shows us that meaning is never fixed but continually renewed each time a photograph is seen. In this way, his work is not only an archive of images but a living conversation — one that extends beyond him, beyond us, and into the fragile, unseen currents of the everyday. VIEW NICOLA'S PORTFOLIO website >>> instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

SPAIN COLLECTIVE Aneeka Manku is a photographer based in England whose journey through Spain is inspired by ordinary life and that in which it embodies. SPAIN COLLECTIVE September 9, 2020 INTERVIEW PHOTOGRAPHY Aneeka Manku INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Aneeka Manku is a photographer based in England whose work is inspired by the beauty of everyday life. From the land, nature, and architecture, to the people, interactions and the destruction, Aneeka’s photography captures the emotions, simplicity, and stillness of our world. Her subjects are often lone, still and quiet, with color used to express her feelings. In 2019, Aneeka embarked on a journey through Spain, capturing the country’s bright and beautiful landscapes. The result was her series SPAINCOLLECTIVE 2019: a collection of high contrast photos that display a homely, intriguing view of Spain that will leave you in awe. As you explore Aneeka's journey to Valencia, Cuenca and The Pyrenees, be prepared for an immersive experience that will leave you feeling connected to this incredible country. “Simplicity, feeling and stillness is what best sums up my work. I always feel that there are two captures for each photograph - one is with your eyes and the second with the camera. There is feeling attached to each capture and what you are trying to do is best portray that feeling through your own creative, technical and editorial style. A finished photograph should feel whole, and completely focused on that moment.” IN CONVERSATION WITH ANEEKA MANKU THE PICTORIAL LIST: Aneeka please tell us when you started getting interested in photography? ANEEKA MANKU: I’ve always had a keen interest in photography but didn’t pursue it until very recently, around 1-2 years ago, when my partner gifted me my first DSLR camera. I guess my interest began from a very young age when I would take pictures at family gatherings and on holidays. TPL: Where do you find your inspiration? AM: It may be cliche, but inspiration is anywhere and everywhere! Unless I am going out to shoot a specific event or experience, inspiration is usually instigated on daily journeys and ordinary routines. For me, what becomes to be the subject, sparks inspiration by itself. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? AM: Quite a few but a couple I would highlight are - Steve McCurry - I absolutely love his work as it feels very real and true to the people and places captured. The visual outcome is simply beautiful, particularly with use of colour, something with I love to play with in my own photography. Alexander Bronfer - Bronfer’s work stands out among many for me. His style is simplistically unique, yet each photograph speaks volumes. The finish of his photographs create depth and add to the overall feeling of the image itself. Others include: Joel Meyerowitz, Raul Canibano and Michael Yamashita. For me, what becomes to be the subject, sparks inspiration by itself. TPL: Where is your favourite place to photograph? AM: I wouldn’t say I have a favourite place to photograph, each experience is different and not be compared. TPL: Have you ever been involved in the artistic world before photography? AM: No I haven’t, photography is my first and solely pursued artistic passion…so far! "When I am not out photographing, I (like to)… AM: Besides reading and a love for the outdoors, you would find me researching psychology-related topics - another passion which I will be taking one step further by studying for my MSc in Psychology this year. Sometime in the future I would like to incorporate psychology within my photography, working with other collaborators on social and community projects." We take the opportunity to thank Aneeka for sharing with us her journey through Spain which is inspired by ordinary life and that in which it embodies. Connect with Aneeka on Instagram and continue following her travels. VIEW ANEEKA'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

HEART AND SOUL For Sofia Sitnikiene, photography is her medium of choice to express her artistic vision for documenting life as it unfolds. HEART AND SOUL March 8, 2020 INTERVIEW PHOTOGRAPHY Sofia Sitnikiene INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Meet Sofia Sitnikiene - a graphic designer, artist, empath, introvert, and mother who has a unique perspective on life. Sofia has a passion for capturing the beauty of life as it unfolds, and she does so through her stunning photography. Her art is more than just a snapshot - it's a true reflection of the world around us, full of meaning and significance. Sofia's approach to photography is all about experimentation. She plays with light, texture, and tone to create breathtaking monochromatic photos that speak to the mind, heart, and soul. Her work is a true masterpiece - a perfect blend of art and storytelling. After giving birth to her first child, Sofia felt motivated to pick up her camera once more and capture memorable moments of her family's growth. As time passed, she grew a deep interest in creating images that reflected her personal emotions and perspective of the world around her. What drives Sofia's passion for photography is her desire to document life through images that matter. Her artistic vision believes that every moment is precious, and her goal is to capture that essence through her lens. “When I started, I photographed portraits of my children and documented all of our trips abroad. Later I focused on learning how to capture images that told stories, how to read and understand light and how to shoot in manual mode. Learning manual mode changed everything for me.” IN CONVERSATION WITH SOFIA SITNIKIENE THE PICTORIAL LIST: Sofia, can you tell us when you first became interested in photography?? SOFIA SITNIKIENE: I first started getting interested in photography when I traveled to Poland in 2007, it was an important trip and something that I wanted to do since I was a child. I visited the Auschwitz-Birkenau concentration camp and felt the need to document my journey, history has always fascinated me and I believe that it is important to understand it. I had also taken a film photography course when I studied graphic design in 1998. My mother was an artist and hobbyist photographer so I guess that this had a lot to do with my choices in life. TPL: Where do you find your inspiration? SS: From music, a good movie, a book, nature, my children and most importantly from emotions. I am a sensitive person, an empath and an introvert, this can be hard sometimes. Photography has a deeply spiritual aspect, going out to shoot can be uplifting. TPL: Where is your favourite place(s) to photograph? SS: In my home, a park when there’s good weather, the streets of London. I also love to travel abroad. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? SS: I think it helps but it’s not the most important thing as you can take a great image with your mobile phone or even with an old film camera. I still use my mother’s Canon A-E1 when I have the time. It’s about thinking, observing, understanding and practicing. There is always something new to learn, never stop learning. Don’t shoot what it looks like. Shoot what it feels like. - David Alan Harvey TPL: What characteristics do you think you need to become a good photographer? What’s your tips or advice for someone in your genre? SS: I think you have to love it and be passionate about it. I would say first learn how to use your camera, learn how to shoot in manual mode, understand how focal length affects the aesthetic of an image; after learn how to compose correctly, how to read light, how to observe the world around you, how to capture emotions, all of the small details; later you can learn how to edit in Lightroom, Photoshop or any other program that you feel comfortable with. TPL: Have you ever been involved in the artistic world before photography? SS: I was a graphic designer and illustrator for many years. TPL: Would you like to share any artists or photographers who have inspired you? SS: Ansel Adams, Henri Cartier-Bresson, Man Ray, Robert Frank, Steve McCurry, Vivian Maier, Alan Schaller, Meg Loeks, Jyo Bhamidipati, Julia Anna Gospodarou, Joel Tjintjelaar. There are so many photographers that have inspired me throughout my journey it would be hard to mention them all. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? SS: Today I’m working on a series of images that capture the streets of London. It’s something that has always interested me, they are all in black and white. I am going to do a street photography workshop soon. TPL: “When I am not out photographing, I (like to)… SS: Paint and draw.” Sofia Sitnikiene's journey is a testimony to the power of self-exploration and the beauty of life. Despite the mysteries that await us, Sofia encourages us to learn, grow, and love. Her photography captures the joys of life and helps us to appreciate the beauty of our existence. As Sofia continues on her journey of self-discovery and personal growth, we are invited to join her in exploring the wonders of life. VIEW SOFIA'S PORTFOLIO Sofia's website >>> Sofia's instagram >>> Sofia's facebook >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

URBAN PEACE Eric Renard is a Los Angeles based photographer whose urban places often reflect an eerie sense of peace and quiet. URBAN PEACE July 15, 2020 INTERVIEW PHOTOGRAPHY Eric Renard INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Los Angeles based photographer, Eric Renard, has an enviable knack for capturing beauty and peace in the most unlikely of places. His work brings to life the cinematic drama in the shadows of cityscapes and the tranquil wilderness of rural landscapes. Growing up between the bustle of New York City and the serenity of Maine, Eric was exposed to a unique dichotomy of urban and rural living. This duality can be seen throughout his work, from the gritty streets of San Francisco to the sun-soaked highways of Los Angeles. With each high-contrast image, he reveals a distinct sense of peace and solitude rarely featuring more than one or two people. His study under Siegfried Halus at Tufts University further honed his skills, allowing him to capture this elusive beauty with each click of his shutter. Eric Renard's works are as captivating as they are mysterious; ultimately, they take us on a visual journey through the same places he once called home. “I was first exposed to photography by a summer camp counsellor in Maine, named Nick. I don’t recall a lot about him except that he always had a camera in his hand and he was pale and British. Ten years later in college, I studied under a wonderful professor and photographer named Siegfried Halus, who got me passionate about black and white and the Southwest. I was lucky enough to visit with him a few years ago in Santa Fe before he passed away.” IN CONVERSATION WITH ERIC RENARD THE PICTORIAL LIST: Eric, where do you find your inspiration to photograph? ERIC RENARD: Anywhere I can find it. It’s a wonderful thing when something inspires you. TPL: Has your style of photographing changed since you first started? ER: Yes, it's evolving every time I pick up a camera. TPL: Do you have any favourite artists that you would like to share with us, and the reason for their significance? ER: Ansel Adams, Georgia O’Keeffe, Edward Weston and Siegfried Halus. I would have loved to have been at the Yosemite campfire discussions with Adams, O’Keeffe and the Rockefellers. TPL: Where is your favourite place to photograph? ER: I love to shoot in both urban and rural places. New York, Venice and the Southwest of America have always been favorites. TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? ER: Yes and no. Knowing how to get the most out of your equipment is more important that what you use but you need have to have the right lens for the right situation. I’ve seen phenomenal photos with all kinds of cameras whether digital, film, SLR or phone. My advice to someone just starting out, go take pictures. Henri Cartier-Bresson said it best, “Your first 10,000 photographs are your worst.” You aren't going to get to 10,000 unless you keep shooting. Patience and curiosity too...go find the extraordinary in the ordinary. Always keep your eyes moving. I don’t see the world completely in black and white. Sometimes I do. - Benicio Del Toro TPL: Have you ever been involved in the artistic world before photography? ER: Yes. I have been a graphic designer/creative director for advertising for over twenty five years. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? ER: I had an exhibition here in Los Angeles for Abandoned Spaces & Urban Places last year. I am always adding photographs to that series. We just got back from Venice and Florence in March (the day everything closed down for Covid-19), which is where most of the these images came from. We just returned from a road trip of the Southwestern States, but I have not gone through those images yet. Keep your eyes open for them! TPL: “If I wasn't photographing what would I (like to) be doing?... ER: When I am not being a photographer, I am a father, a husband, a creative director or playing softball.” Eric Renard's photography take us on a visual journey, connecting us to a beauty hidden in the everyday. He has the ability to transport the viewer to a place of serenity, striking a balance between the urban and natural worlds, conveying emotion and story in every image. To truly appreciate Eric's work and to keep up to date with his latest please use the links below. VIEW ERIC'S PORTFOLIO Eric's website >>> Instagram >>> Facebook >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

FINDING THE MAGIC OF ISTANBUL Street photographer Emir Sevim finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks his world. FINDING THE MAGIC OF ISTANBUL January 28, 2022 INTERVIEW PHOTOGRAPHY Emir Sevim INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Istanbul is a place like no other, and it is through the eyes of its people that we see its beauty. One of those people is Emir Sevim, an Istanbul native and street photographer whose passion for his city shines through his work. Emir was born and raised in Istanbul, and it was during his university studies that he realized his love for photography. After taking a class in photography, he found himself inspired to explore the streets of Istanbul, and to capture its beauty in ways that only a local could see. Through his lens, he has been able to find the unique details and comparisons that come together to create the magic of Istanbul. In his six years as a street photographer, Emir has developed a unique style of photography that is infused with the energy and rhythm of his city. He captures the essence of Istanbul, creating images full of vibrancy and movement. As any native to a city knows, there is something special about being born in a place – something that cannot be captured by a casual observer. It is in this spirit that Emir captures his city, finding beauty and purpose in its inhabitants and its streets. Emir finds the magic that makes Istanbul such a brilliant city with a rhythm and beat that rocks Emir’s World. His images are a testament to its beauty and its brilliance, a reminder of the unique beat that rocks its streets. “Street photography is my passion. When I go out and take photos, I forget all my other troubles and surrender myself to the flow of the street, to the spirit of the street. Every photograph I take carries pieces of what I watch, read, people's feelings, movements, the rhythm, texture and spirit of the street. I am very lucky to live in Istanbul and take street photos. I hadn't noticed that Istanbul is such a magical city before I took my first photo. When I started to taking pictures, it was while I was getting lost in the streets, I realised how perfect this city really is.” IN CONVERSATION WITH EMIR SEVIM THE PICTORIAL LIST: Emir please tell us about yourself. How did you become interested in photography? EMIR SEVIM: I was born, grew up and live in Istanbul. My interest in photography started during my university years. While I was studying Sinem-TV department in 2011, we had a photography class. I took a camera and started taking photos. It was 5-6 years ago that I started taking street photography. TPL: When you are out photographing - how much of it is instinctual versus planned? ES: I don't make any plans while taking photos. In my understanding of street photography, photography should be natural. When I take a photo, I capture that moment and enjoy it. TPL: What are some tips or advice you would give yourself if you started street photography all over again? ES: I would have liked to have started my photography by taking street photos earlier on. I'm not too late, but sooner would be have been nice. Frankly, I wouldn't give any advice because I'm constantly taking photos and working hard on this. TPL: Do you have any favourite artists and photographers? ES: Lee Friedlander, Henri Cartier-Bresson, Alex Webb, Vivian Maier, Nikos Economopoulos, Josef Koudelka, Raymond Depardon, Bruce Davidson, Joel Meyerowitz. TPL: If you could just choose one photographer to shoot alongside for a day...who would you choose? And why? ES: I would choose Alex Webb. Because he has an amazing street photography book about my favorite photographer and the city I live in, Istanbul. It would be perfect to take photos with him on the streets of Istanbul. When I take a photo, I capture that moment and enjoy it. TPL: Does the equipment you use help you in achieving your vision in your photography? What camera do you use? Do you have a preferred lens/focal length? ES: I love the equipment I use. Small, practical and fast. It makes my job on the street a lot easier and gives very good results. I don't think you need huge equipment. It is the photographer who takes the photo, not the camera. My equipment is the Fujifilm XT30 18mm f2. TPL: What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years? ES: As a photographer, of course, my goals are to produce something permanent. Making exhibitions, publishing books. I think the best thing a photographer can do is make a photo book. I am working every day to achieve these goals in the coming years. TPL: Are there any other special projects you are currently working on or thinking about that you would like to let everyone know about? ES: There are several photo series I am currently working on. Those who are curious can see them on my website. I have an idea to make an exhibition or a book about these series in the future. TPL: "When I am not out photographing, I (like to)… ES: I like spending time with my family, traveling, watching movies, reading books." The story of Emir Sevim is a testament to the beauty and magic of Istanbul. Through his work, he has been able to capture the unique details and energy that make it so special. His photographs are a reminder that beauty is found in the everyday, and that there are people who love their city deeply and can share its unique beat with the world. Let’s all join Emir in his quest to capture the magic of our cities. VIEW EMIR'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

AN OBSERVED REALISM Inspired by her local relaxed beach lifestyle in Australia, Melanie Meggs' photographs combine an observed realism with a touch of quirkiness. AN OBSERVED REALISM March 5, 2020 INTERVIEW PHOTOGRAPHY Melanie Meggs INTERVIEW Karin Svadlenak Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE As people, we are often defined by our experiences – some good, some bad – that shape who we are and how we interact with the world around us. For one Australian visual artist, her near-death experience was the light that shone a new path in her life, leading her to explore photography as a creative outlet and a way to escape from reality. Melanie Meggs is an artist and visionary photographer, whose work speaks to the depths of the human experience. With a background in Fine Arts and years of field experience, Melanie has a unique talent for creating scenarios through strangers on the streets, exploring the intersections of reality and fiction. Her photography is often satirical humorous and serves as a psychological representation of her escape from the everyday. The creative mind behind The Pictorial List, Melanie's artistry runs deep and her thought-provoking works give viewers a rare insight into her world. Through her lens, she invites us to join her on a journey of exploration, allowing us to take a glimpse of the reality she has created for herself. Her works are captivating, mysterious and simply beautiful. Melanie's story is inspiring and her works serve as a reminder that art can be used to explore and express the depths of our inner lives. Join us as we go behind the lens with Melanie Meggs to discover how photography changed her life. You'll miss the best things if you keep your eyes shut. - Dr. Seuss “From a young age, I have been completely mesmerized by people and their complex interactions in different scenarios. I intently observe and analyse their behavior and social relationships, as I find it incredibly fascinating.” IN CONVERSATION WITH MELANIE MEGGS THE PICTORIAL LIST: Melanie, when did you start getting interested in photography? MELANIE MEGGS: As far back as I can remember, I have always had a passion for photography. It all started when I was a young child and I would snap pictures of everything around me with my trusty camera. When I began studying art, I was overjoyed to receive my first SLR camera - a secondhand Nikon FE. I still have that camera to this day and it holds a special place in my heart. While I was initially more interested in the theoretical side of photography, I loved the experience of working in the darkroom and seeing my images come to life before my eyes. Although it's been many years since then, those memories remain vivid and exciting. A few years ago, my life was almost taken away from me by Sepsis (Streptococcal Toxic Shock Syndrome), but I used that experience to change my perspective on life. I was very lucky to have survived. I began to appreciate life in a new light, taking a camera out with me on my daily rehab walks to keep me company. Through my viewfinder, I was able to escape the reality of my illness and everyday life. Even today, photography remains a place of solace for me. TPL: Where do you find your inspiration? MM: I derive my inspiration from my passion for painting. Though I can no longer paint with the same skill as before, I have discovered a way to incorporate my love for painting into my photography. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? MM: I have forever been inspired by artists such as Jeffrey Smart, Edward Hopper and David Hockney. The way they created these precisionist depicted scenes of urban landscapes that were full of playful allusions appealed to me very early on in my life. I recently have found inspiration in the conceptual photographic works of Ben Thomas and Maria Svarbova. TPL: Has your style of photographing changed since you first started? MM: Certainly, my approach to photography has evolved over time, and I anticipate that it will continue to evolve as I gain new insights and knowledge. TPL: Where is your favourite place to photograph? MM: I really enjoy taking photos at the beach these days. People there seem more carefree and happy, which makes for great photos. I recently visited Japan, and it was a photographer's dream come true. There were endless opportunities for amazing shots, and the people there were wonderful. I'm already planning to go back again in the future. I also love experimenting with different techniques in art galleries and museums. It's a fun way to challenge myself and create something unique. I now paint with my eyes, capturing beauty through the lens of my camera. TPL: Do you think equipment is important in achieving your vision in your photography? What is your current camera and why did you choose it? Is there anything on your wishlist? MM: I would love to have a camera with weather-sealed medium format or full frame capabilities to successfully achieve my photography objectives. This feature is crucial to my work, as I often capture images in sandy or wet surroundings, and it is essential to the quality of my work. Additionally, I aspire to produce enormous prints in the future, and having a camera with more megapixels will help me achieve this goal. I currently use the Olympus OMD EM II and mostly use my prime lenses 17mm (35mm equiv) and 85mm (170mm equiv). I have a deep affection for my Olympus camera. Its 5-point stabilization, lightweight design, and ability to produce stunning colors makes me hesitant to invest in a new camera at the moment. On my wishlist, emphasis on WISH!...a Leica or a Hasselblad...I shall just keep dreaming at the moment though. TPL: Have you ever been involved in the artistic world before photography? MM: I have a diverse background in the arts, having studied Fine Arts with a focus on art history, painting, and printmaking. Additionally, I studied music and can play the tenor horn, trumpet, and tuba. From 2012, I co-owned a homewares, florist store, and gallery with my close friend, where we showcased the work of talented Australian artisans. Our store also featured our own handmade timber furniture and homeware designs. Sadly in 2018, we had to close the store due to my illness. TPL: Are there any special projects you are currently working on that you would like to let everyone know about? MM: The Pictorial List!...A worldwide online community photography platform that delves into the intricacies and splendor of all types of photography. We have numerous exciting concepts in the works and can't wait to share them with you! TPL: “When I am not out photographing, I (like to)… MM: Something creative! Enjoying life on sunny days.” A combination of observed realism and a touch of quirkiness abounds in Melanie's photographs. Join Melanie on Instagram for a glimpse into her life as she pursues her passion for photography. VIEW MEL'S PORTFOLIO Mel's Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

ON ASSIGNMENT Photojournalist Federico Quintana speaks to us about the conception of his projects and the issues at the heart of his work. ON ASSIGNMENT November 18, 2020 INTERVIEW PHOTOGRAPHY Federico Quintana INTERVIEW Melanie Meggs Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Federico Quintana is a renowned photojournalist with a fascinating story. Born in Italy and living with an Argentinian passport due to his father's profession, Federico was drawn to photography from a young age as a way to capture memories that had a lasting impression on him. After studying journalism and photojournalism, he dedicated himself to exploring and documenting the lives of people worldwide, from salt and tin miners to remote indigenous tribes. His work has taken him across Patagonia, northern Argentina, and China; no matter where he goes, he always captures the essential stories of his subjects. In this exclusive interview for The Pictorial List, Federico shares his intriguing journey through Patagonia, Antarctica, and China and the conception of his projects, and the issues at the heart of his work. From his beginnings shooting in analog during the 90s to now shooting in digital, Federico has experienced a range of different styles and processes. Join us as we follow his journey and gain insight into his captivating work. “Places don’t really make the difference, it's all about going far and encountering people across the world or across the street and establishing a connection through the camera as a means of communication. That is what drives me I think...I am a storyteller, lazy in words faster with a camera. It’s the desire to convey one’s emotions and visual record.” IN CONVERSATION WITH FEDERICO QUINTANA THE PICTORIAL LIST: Federico please tell us about yourself. How did you become interested in photography? FEDERICO QUINTANA: I was born in Trieste, Italy in 1966. My mother was Austrian/Italian and my father was an Argentinian career diplomat. Because of my father’s line of work I received at the time only the Argentine passport. My father was stationed in Indonesia. There was great political instability, so my mother came to Italy temporarily. Shortly after, my father was transferred to Beirut, Lebanon and so was I, at three months of age. We stayed in Lebanon the first six years of my life and as a result my first language is French. From that point onward we continued to move around the world. It was two years in Moscow, two years in the Ivory Coast, back to Argentina under military regime and then Switzerland, when I was around eleven. I stayed in boarding school until the age of sixteen. My parents separated and my father returned to Argentina to follow his career while I ended up in Paris, France with my mother and finished my studies at the American High School of Paris. At nineteen I moved to Arizona where I had friends and worked in construction while studying computer science at a technical school in Phoenix. I was already photographing a lot at the time with my first camera, an old Canon FT that my father had given me a few years earlier. My AA degree in computer science was from an accelerated program that lasted one year instead of two but during that time I had met the owner of an Aerial Survey and Photography company who offered me a job if I wished to return. I also discovered that Arizona State University had one of the best Journalism Schools in the States in addition to being the only one offering a photojournalism emphasis program. I had at this time decided I wanted to become a war photographer, and at the same time I had also requested to the Italian government my birthright citizenship, so in response they called me back to Italy for military service. Because of my interest in war photography, I volunteered as Airborne and subsequently in Alpine Airborne Rangers 'Special Forces', as I wanted to get proper training for conflict situations. After finishing my military service I returned to Arizona for my B.A. in Journalism and Mass Communications and a Photojournalism emphasis. I worked my way through University with 'Landiscor Aerial Survey' in Phoenix, where I had every job available in the company at one point or another. Finally I returned to Italy for a short time before returning to the US to finish university and complete my degree. At this point I met the lady of my life who accompanied me back to Arizona for my last year and graduation. After this we married in Las Vegas, with only one condition on her behalf: “no war!” So would documentary work be okay, honey? Laura is of course still by my side. I wanted to move to Argentina and get to know my heritage... while growing up I had only lived there for two years and in the worst imaginable time of a military regime, which later culminated with the Falklands war. We moved to Argentina in 1996, and the first thing I did was to travel to the Falklands for my first documentary work attempt, this resulted in an important exhibition at a major university in Buenos Aires where I met the owner at the time, of Lugares magazine. I soon started contributing with them and my photographic career began. After a year I decided I really wanted more knowledge in photography and returned to the US, this time in Santa Barbara, Ca. at Brooks Institute of Photography. I wanted a Masters degree and they had accepted my enrolment for two years. After six months, I had started at Brooks, the owner of Lugares sold the magazine to Argentine Newspaper La Nacion but remained as director and editor of the magazine. She offered me a position as staff photographer if I would return, so of course I did. Lugares magazine is a high level travel magazine inspired by Condé Nast Traveller, but mainly dedicates its coverage to the Argentine territory, although it also encompasses many world destinations. They do two special editions at opposite times of the year, one in Patagonia and one on the North of Argentina. My first assignment as staff photographer for the magazine was the Patagonia edition. It lasted three weeks and Patagonia literally blew my mind and sunk in very deep. There are many similarities with Australia, so I think you might know what I mean. I just love the vastness, incredible beauty and intense loneliness you can experience in such places, it puts you in touch with yourself like nowhere else. I love the land, rivers glaciers and horses that play such an important role in that territory. I am also an avid fly fisherman and Patagonia never disappoints. In the year 2000 my son Matteo was about to be born and the situation in Argentina was very bad, a terrible crisis was driving people away from the country and my position in the magazine was difficult, as the management had changed and they were requesting the rights to my images, which I could not accept. During a trip to Europe I went to visit SIPA/ PRESS - IMAGE in Paris, and they proposed a collaboration that I accepted. TPL: Tell us about your first assignment to Patagonia? FQ: Before leaving Argentina, on a short assignment about grey whales in Peninsula Valdés, halfway down the Patagonian territory I discovered a story that would keep me returning to that point for the following three years. In the northern tip of this peninsula lives a pod of Orcas that have developed a very specific sea lion hunting technique by stranding on the beaches to capture their prey, but my focus was on the park ranger who had developed a means of communication with these supreme animals with the use of a harmonica. This has been my most important published work to date as it was featured in BBC Wildlife mag, which ran simultaneously with the major cinematography film production “The Blue Planet”. Animan magazine and many others also later published this work which was handled by Sipa during the times to follow. For the last year of the project I worked in stills and video because of the unique situation with the Orcas. My footage was later acquired by NGS Television for a documentary film. During the years of this project I realised Peninsula Valdés was directly on the opposite side in Patagonia from the Fitz Roy and Cerro Torre mountains in el Chaltén, and you could access the Continental Ice Field from there. This is the world's largest ice field beyond Antarctica and only a few hours drive from Puerto Valdés. So I tagged along a proper self sustained expedition covering a good portion of the ice field during a twelve day hike on the ice. In the end I left Argentina in the year 2000 and have been living in Italy ever since, but I kept my most important belonging there: my 1995 Toyota 4Runner, which has truly been a spaceship, going full length from Buenos Aires to Ushuaia at least 6 times throughout the years. It actually stayed in Ushuaia a full winter after the Antarctic expedition, as I had ran out of time and returned to Europe by plane. I recall calling the hotel that had kindly allowed me to use the parking lot, for information about my truck and for three months the reply was: "sorry we can’t see the vehicle under the snow"... I returned in the spring and drove the 3000 km back to Buenos Aires once more. TPL: Antarctica is on a many photographers' bucket list. Describe seeing it through your lens for the first time. What was your photographic process in your Antarctica series? FQ: The Antarctic assignment was for Lugares/Nacion, as they had proposed a book project on Patagonia with the images from all the assignments. The only missing territory was the Antarctic Peninsula, which in the time of Pangea when all the continents were attached was united to the tip of South America. So for this project in 2010, I drove from Buenos Aires to Ushuaia where I embarked The MV Ushuaia for a 12 day voyage to the Antarctic Peninsula. Travelling to Antarctica is only possible during the summer months as at the end of March when winter approaches, the ice pack forms so hard it will trap any ship to remain there until the following summer when it melts again. I was on the last trip of the year before this happens. At that point Antarctica is alienated from the world as no means of transportation can reach the continent safely. Antarctica is the coldest, farthest, most remote, most dangerous and most mysterious continent in the world. That was our intro, from our expedition leader the first day aboard the MV Ushuaia. The ship was not an ice breaker but the hull was specially reinforced for that purpose and the expedition was semi-scientific as we had wildlife and climate scientists onboard as well as a small group of fortunate passengers and the photographer... Although most assignment for the magazine where conducted together with a journalist, in this case I had to do both the writing and photography as there was only one spot available onboard. This was 2010 and the digital world of photography had already taken over the disappearing film, but the only digital camera I owned was an Epson RD-1, which accepted my Leica lenses, not very useful for Antarctica. My main working equipment at the time was a Nikon F5 and F100 along with 300mm and 600mm lenses used for the Orcas project and a couple of short and medium zooms. Lugares gave me, literally, all their last film stock, about 30 or 40 rolls of Kodak V100S and Fuji Provia 100. On my earlier Patagonia assignments it was always a mix of Nikon and Leica M6. Although Leica rangefinder M cameras have always been with me and my favourite photographic tool of all. They were in those years a complement to my gear as I was covering subjects that ranged from interior architecture with lots of artificial lighting to wildlife where rangefinders really don’t do too well. So because of my heavy weight gear in Antarctica the Leica’s remained at home. The project in Antarctica was the last of my film photography with Nikon and the real long lenses, I still use Nikon today in digital for specific assignments but only if I really have too. The long lenses were replaced in 2015 for Leica M9-P’ and M Monochrom, after putting them to use for world championships of high speed motorcycles for a couple of years. TPL: Do you have a favourite quote/lyric/saying that especially resonates with you? FQ: The only quote that often resonates in my head is not exactly very nice... especially if one doesn’t know why...It is from a play by W. Shakespeare: “No beast is so fierce that has no pity... But I am no beast and therefore have none”. In Patagonia I once saw an Orca capture a sea lion pup on the beach and drag it out to sea, clearly for an easier kill. As the pup struggled for his life when she let go, instead of killing it the Orca accompanied the pup back to the beach almost nursing it and stayed a little on the shoreline to see it climb out of the water safely. This event really blew my mind, I didn’t know such an apex predator could feel compassion, as that was exactly what it looked like. I wondered a lot about that and the perfect balance of things in nature. I also often compare human nature to this incredible act I had the privilege to witness. TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? FQ: At the cost of sounding boring I surely would start by Henri Cartier Bresson and Robert Capa, who laid the guidelines for 21st century documentary and photojournalism in their respective genres. During the beginning of my professional career I was extremely influenced by the early work of Alex Webb in revolt stricken Haiti, 'Under a Grudging Sun' and later 'Amazon: From the Floodplains to the Clouds'. What makes it worthwhile is freezing the memory of the human encounter, which stays in an image and leaves a mark. Surroundings just establish the remoteness and humanity the similarities. 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? FQ: My main cameras for personal projects have always been Leica. All cameras are just tools to achieve what a photographer needs and the Leica rangefinders are extremely special for documentary work. The greatest difference with all other cameras is the way they are in front of the photographer’s face. Leica M cameras only cover a very small portion of the face when manual focusing, this establishes very direct approach to the subject. You just don’t get to hide behind the camera like with a reflex camera... This always leads to a deep interaction with the subject and is almost always reflected in the images. Leica’s are also extremely quiet, discreet and small and the glass is not comparable to anything else around. Finally, they are just beautiful instruments no matter the year of production. I continue to work with the M9-P and Monochrom. I tried Fuji (xpro-2 and x100 (t and v) for a while and although truly wonderful cameras they don’t produce the rangefinder shooting experience obtained with a Leica M. It is not just a quality thing, it is a matter of how you move, frame, pre-focus, the Leica forces me to visualise the image before I shoot so I think and prepare better to be in the right place when something is going to happen. In short, I shoot a lot less and a generally a lot better. I am a slow changer so although my cameras are three generations behind the latest models, I am not letting go yet of the M9P’s and Monochrom. The M9 and MM have CCD sensors, which are different from anything ever produced and return very unique files with unequalled dynamic range and colours at base ISO. The sensors were also created by Kodak, for which I always had a preference, and these cameras reflect this very well. Although they are not perfect – white balance is often off and you can hardly push them beyond ISO 800, but that is more than enough for me. Although I have no plans to change I am always paying close attention to what the Leica masters are doing in Wetzlar. My preferred focal length has always been the 35mm Summicron, and I shoot mostly with my 20 year old version (IV) which I always find amazing. That would be my desert island choice:) Next I love the 21mm asph. Elmarit and also use the 50mm asph. Summilux, which always saves the shoot and can never fail. When I work seriously with Leica’s or when I travel, I always have two bodies and those three lenses, a very small flash and a remote trigger. I generally also take along the 90 Elmarit, just in case, but rarely use it. The coolest combination is one M9P and the Monochrom, it's like having a camera loaded with Tri-X and one with Kodak slide film. The Monochrom returns incredible B&W but most importantly forces me to think in B&W, and it really changes the approach when shooting without the choice. Photojournalism, street, and documentary photography are all related in the approach which ultimately leads to strong images when there is human interaction involved. So in those fields, your behaviour and how you move and interact with people are the more important aspect and skills necessary, because they will create trust and confidence, allowing the photographer to shoot freely and move faster when it counts. This process also always has room for improvement as it has to do with all the actions you take in life. It’s about communications skills throughout the photographic process. So as far as tools go this is really it for me but I am also image quality obsessed and completely fascinated with last state of the art M10-R, but not yet! TPL: Are there any books that you have read that have inspired your creativity and that you would like to recommend to us? FQ: One of the most amazing stories and books ever, is the story of British explorer Ernest Shackleton who got trapped two winters in a row with an 80 men crew and managed to keep them alive and in good spirits without any human loss. An absolutely incredible human endeavour and adventure to save their lives. All recorded on large format camera by a great Australian photographer...I highly recommend this book 'Trial by Ice: A Photobiography of Sir Ernest Shackleton' about human courage and great adventure. I love several photographers from National Geographic as well, but one in particular just was so cool that when I received the magazine, the first thing I would do is look for his name to see if he was inside....David Alan Harvey...he just was and still is fantastic, a true light chaser and amazing story teller with a flair and the most incredible visual acuity. I learned from his photography to “dare” and go beyond my shyness when approaching people shots. I learned that the image comes before all to a photographer and you can’t hold back, ever. If you want it you have to go get it! I learned from David that the great shots are always one step further than you think and always on the edge of failing! Any of his books are highly recommended. But indisputably the most incredible photographer and man of all, must be Sebastiao Salgado, in the footsteps of Bresson. Salgado’s photography, humanity and sacrifice in life for this art form, goes beyond words, he might just be the best in the world. I was very lucky to run into these guys in life at some point or another. Sebastiao Salgado showed up in Peninsula Valdés when I was shooting Orcas. He was working on a 5 year project for UNESCO, which encompasses this area in their protected territories. From Salgado anything... but early 'Terra', definitely gave me a lesson at the time. In the year 2000 I met David Alan Harvey in Perpignan while attending “Visa pour l’Image”, as he was signing my copy of his book, 'Cuba' and recently in Puerto Rico for one of his workshops. His last book, 'Off for a Family Drive', is just absolutely fabulous, downright to the awesome smelling black organic paper. It is a spread out collection across the years...superb. The same goes for James Nachtwey as far as war is concerned, in direct lineage with Capa. He is just incomparable in the world of war photography his images are just poignant. I could list books from these photographers but really, anything you see that comes out from their cameras is bound to be a masterpiece. James was present at a casual dinner in NYC with friends in common, I was so surprised. I thought he was a fake... It is funny how life seems to consider a person’s dreams, sometimes... Bruce Davidson as one of my all time favourite photographers who although truly known for his extensive bodies of work with New York gangs in the 50’s and 60’s and what absolutely blows my mind is his more rare color photography. 'Survey' would be a good one in B&W. TPL: You also shared a series of photographs from China with us. Describe your time there. FQ: My work in China has always been personal and therefore shot with my most natural and true vision about photography. I started travelling to China on my own in 1998 on a freelance self assignment to photograph a cultural worldwide event where China opened the doors to the Forbidden City, featuring Puccini’s Turandot Opera. This event had monumental proportions with Zubhin Metha as conductor and produced by Zhang Yimou. I had managed to get accredited at the Hilton international press room, but most importantly about the image process I decided to shoot with Leica M6 cameras and Kodachrome film. Consequently I stayed three months in China documenting, in Xi’an, Guilin, Shanghai Beijing, Li River and so forth. From the start I was very interested in the juxtaposition of the highly modern developing China and extremely rural and antique culture, even in the urban environment, spread over a period of 20 years, both with digital and analogue images. To me this work is about reflecting the way I saw through my lens then and now, while attempting to create a balance between the modern medium and the old. In recent years I travelled throughout China on corporate assignments and shooting in parallel on my own. To me these images show my nature and approach to documentary and street photography but also the changes in time and the things I can improve. What I mean, is that I’ve been searching for this colour combination and shooting style in the digital world but also kind of picking up from the best of my documentary photography from those years by applying it to what I am doing now, as a means to pave the direction in which I want to continue. The Leica M6 combination was to me the ultimate as I had a passion for the ISO 64 Kodachrome, which was so picky in exposure and had a mild magenta shift, so difficult but so good at the same time if the light was right and there was something red in the image. The equally loved (low light) Kodachrome 200 was grainy but also so sharp and with a slight shift to orange. After all they were the favourite and most used film ever at National Geographic, and both had a very specific and unique fingerprint. TPL: What are some of your goals as an artist? Where do you see yourself or hope to see yourself in five years? FQ: At this time I am trying to consolidate my old images in perspective with more recent work, eventually I plan to make books out of a rather large archive of images. At the same time, the thirst for shooting is stronger than ever and I want to up the level of my photography. I am also considering to try and find a photo agency for future collaborations. I feel I still have a long way to go and my approach is constantly changing, it is time I apply the experience gathered for something that is really me/mine from my soul, again. TPL: What is next for you? Are there any ideas or special projects you are currently working on that you would like to let everyone know about? FQ: I am searching for a meaningful project of human interest to follow deeply and am considering a story with Gauchos in Northern Argentina at this time (Covid permitting...). But really anything that comes up and will keep me shooting! TPL: “When I am not out photographing, I (like to)... FQ: I have many interests in life (other than photography) and they have changed several times throughout the years. At present, if I am not shooting, it’s certainly because I am sitting on my very loved Harley Davidson, shooting American traditional archery or Fly Fishing somewhere far, possibly in salt water or simply with Laura, Matteo and my super terrible German Terrier, Athena.” The journey of Federico Quintana is one of a lifetime, capturing the essential stories of people all around the world. His passion for photojournalism shines through his work, making it truly captivating. Federico's projects have taken him to some of the remotest locations on the planet, always aiming to bring to light the stories of his subjects. We are honored to have been part of Federico's journey and to have gained insight into his work. To learn more about Federico's projects, use the links below and explore the beauty and stories that he has captured throughout his journey. VIEW FEDERICO'S PORTFOLIO Read GHOSTS OF THE ANDES by Federico Federico's instagram >>> Federico's facebook >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

LIFE IN BETWEEN Vicky Markolefa explores the interface of man and the sea world. The project documents the impact of human activities on the marine and coastal environment in the Mediterranean with a human-centric approach. LIFE IN BETWEEN June 3, 2022 INTERVIEW PHOTOGRAPHY Vicky Markolefa STORY Vicky Markolefa INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE LIFE IN BETWEEN explores the interface of man and the sea world. The project documents the impact of human activities on the marine and coastal environment in the Mediterranean with a human-centric approach. Humans and marine life have coexisted for eons. During the past decades, the world's seas and oceans have suffered from immense pressures and undergone rapid changes which have affected humans and marine ecosystems in multiple ways. Plastic pollution, unregulated coastal development, excessive tourism, depleted fish stocks and the climate crisis, are key threats to our future. I have been witnessing these realities first hand, documenting the changing landscapes and the challenges of the people who depend on the seas for their survival. Through my collaboration with leading environmental organizations I documented these topics through a wide spectrum which engulfed research and monitoring activities, onsite interventions, rehabilitation and capacity building and awareness raising. “This is a theme very close to my heart and mentality. In this project, I emphasise on profiling leading female scientists and conservationists. Throughout my visual work, female representation is a priority, as I share the long term commitment to promote women's rights through photography. With this project I hope to contribute to a more inclusive and direct dialogue on nature conservation.” IN CONVERSATION WITH VICKY MARKOLEFA In this interview, we ask Vicky about her perspective on the power of photography and the impact it has had in the world of conservation. THE PICTORIAL LIST: Vicky please tell us about your geological location on the Mediterranean that your visual essay examines. VICKY MARKOLEFA: The project spans in four Mediterranean countries: Greece, Albania, Turkey, and Tunisia and covers several locations. I felt it was important to follow the story in different locations, to point out the common points that exist. LIFE IN BETWEEN approaches our relationship with the marine world in the Mediterranean, one of the most touristic and densely inhabited places on the planet. From busy, industrial ports to picturesque villages, and from rocky coastlines to endless stretches of sand and pristine marine protected areas, this is the amazing and ever-changing landscape of the Med. But its soul is in its people, and that is what is slightly different about this project. TPL: Explain the visual investigation you engaged in your studies on human activities and their impact on the marine and coastal environments in the Mediterranean. Describe to us your human-centric approach. VM: I feel strongly that if we are to understand the impact of our actions on the natural world and on ourselves, we should somehow engage with the topic on a deeper, experiential level. Through ‘Life In Between’ I tried to approach the subject from a human perspective and through the stories of the people who live at sea and from the sea, the people who are on the first line of conservation, and most importantly people whose emotional world I could somehow grasp inside an image. ‘Life In Between’ questions our stance on the evident, existential problem that we are dealing with. TPL: Tell us about the importance of the community of women scientists and conservationists you have engaged, and the important contributions they are making. VM: You know, there is a dark side in almost everything. Conservation is no exception. I believe that the reason that the environment suffers so much from manmade pressures is why we and our societies suffer. Patriarchy, unequal power relations, detachment. Hence my interest in profiling female scientists in this project, showcasing their work, and their contribution. And, perhaps, some influence from ecofeminism. I feel even more motivated when I meet change-makers who live and work in remote and disadvantaged areas, such as a small port off the coast of Tunis, Cap Zebib. There I met Amal, a young scientist who overcomes the bias in her community and thrives working as a fisheries observer for the MedBycatch project. These are the stories that show us that a new collaboration scheme is possible. A participatory system where local communities are at the forefront and heart of environmental actions. Imagine an open circuit in which science and policy are informed and improved by encompassing and allowing local experience and new ideas to claim their rightful place. June Haimoff sits at her home in Dalyan, Turkey. June Heimoff or Captain June, an English environmentalist who lives in Dalyan, Turkey, July 2021. In the period from 1984–1988 she and fellow-environmentalists launched a successful campaign to preserve İztuzu Beach as a habitat for the endangered loggerhead sea turtle (Caretta caretta). This area is an important nesting site in the Mediterranean. Since 1988 the Köyceğiz-Dalyan region holds the status of Special Environmental Protection Area (SEPA). DEKAMER Sea Turtle Rescue and Rehabilitation Center also operates in Iztuzu beach. © Vicky Markolefa "We are working together with fishers and conservation experts to reduce by catch." Asma Ben Abda, Ingénieur en Chef Ministère de l'Agriculture - La Goulette Port, Tunisia, December, 2021 © Vicky Markolefa © Vicky Markolefa Fisher Arapakis shows a fish with a plastic bottle ring around its neck, Keratsini Port, Greece, October 2021 © Vicky Markolefa Veterinarian Koray Kabadayiogullari cleans the wound of an injured sea turtle at DEKAMER Sea Turtle Rescue Center, Iztuzu beach. Midas, the turtle, has suffered an eye injury and lost both front flippers due to entanglement. Thus, he is unable to survive in the wild. Turkey 2021 © Vicky Markolefa A man digs a hole to bury a dead sea turtle, Turkey, 2021 © Vicky Markolefa TPL: Talk to us about June Haimoff, and her contribution to your project. VM: Kaptan June (June Haimoff) was an English environmentalist who lived in Dalyan in Turkey. In mid 80’s she and other environmentalists launched a successful campaign to preserve İztuzu Beach as a habitat for the endangered Caretta caretta sea turtle and prevent the building of a huge hotel. This beach is protected until today and is one of the main nesting places of the species in Turkey and the Mediterranean. I met Kaptan June while filming the documentary ‘My Name Is Blue’ and I had the honor to be granted one of her last interviews. Unfortunately, she passed away recently. Extract from her interview - "You know, I am a romantic. I love beautiful things and travel and such. I came on a boat, I was a sailor. And I found this place, I don’t know how. I guess it was meant to be. I can sing and dance, I was a singer and a dancer. I didn’t have a degree in beach conservation or anything. But, you see, I have a heart! Our beach was untouched when I first came here. You know what happens to coasts around the world these days. They get developed. Roads come and more buildings. It’s part of my purpose in life, the protection of this beach together with other people. One person alone couldn’t have done it. But I shouted, I spoke, I said…. And what happened? They began to listen. Oh, love. A lot of things wouldn’t have happened without love." June Haimoff, July 2021, Dalyan Turkey Kaptan June Sea Turtle Conservation Foundation My Name Is Blue Documentary (created by Mind The Bump Productions, Directed by Bastian Fischer et moi) TPL: With this project you say you “hope you contribute to a more inclusive and direct dialogue on nature conservation.” Explain this in more detail for us. VM: There’s lots of tiptoeing around conservation topics obviously for political reasons. But even on a daily, personal level too. Our language for example is a key point in this discussion. We often refer to Nature as ‘resources’, which is translated as ‘a pot out of which we can grab anything we need.’ We know well by now that there is nothing beneficial in using this word to describe Nature, and in treating it like this either. These words became values and through repetition and practice, they are the norm. We didn’t always think or act this way, self-destructively. I come from Arcadia in the mountainous Peloponnese. There, the Arcadian ideal used to prevail in people’s lives. The concept that the Human cannot surpass the total and the Natural. It flows with it, not against it. I refer to the kind of approach in which Nature’s intrinsic value is recognized, independently of whether it satisfies human needs or not. Inclusivity that expands from the human scale. Direct approach, yes. Dialogue and informed decision-making not only on an institutional level but also openly, on the ground, from the bottom, up. TPL: Tell us about the supporting veterinarians and clinics that support your efforts. VM: There is a limited network of rescue centers around the Med. They are few and certainly not enough to cope with the thousands of animals that need their help. I had the chance to document the work of Dr. Koray Kabadayıoğulları, veterinarian at DEKAMER Sea Turtle Research and Rehabilitation Center in Turkey. He and his teams work throughout the summer, often long hours and in stretching conditions, to care for the many sea turtles hosted in the center and care also for the ones sent by nearby areas. His work is lifesaving and his commitment humbling. It’s in the paradigm of these low-profile heroes that I find the courage to further pursue my work. Thank you for the inspiration, Koray. Imagine an open circuit in which science and policy are informed and improved by encompassing and allowing local experience and new ideas to claim their rightful place. TPL: Give us a little history on the sea turtles you have documented and what the dangers are, and what are your goals to help them? VM: I have been working on this topic for quite some time and in the process, I think I have seen sea turtles in several states of being, from really bad, to coping, to chilled, I think at least. Midas, is a green turtle that (most probably due to entanglement in fishing gear) lost both his front flippers and damaged his eye. With limited vision and swimming skills, Midas will have serious problems surviving in the wild. He hasn’t reached the age to mate, he hasn’t had a chance to even become an adult. He swims back and forth in his tank, all day long. It’s at least disheartening to see this wild creature, whose life is all about roaming the open seas trapped in this fate because of human negligence. It is even more unfair if we consider that we know what causes these cases and we know what it takes to mitigate them. Experts say that the most common threats for sea turtles are manmade and include entanglement in abandoned fishing gear and bycatch, pollution, loss of habitat, and climate change. Illegal trade is also a big threat, and one hard to tackle. As for the causes of injury and death, among the top ones are plastics ingestion, ecotoxicological problems and, boat collisions. TPL: Tell us about the documentary journey you are on, share with us the multitude of organizations you have engaged and worked with through your collaborations. VM: For this project, certain images have been produced while documenting the work of leading experts through regional and international marine conservation projects: 'Mediterranean Cleanup', ‘Plastic Busters MPAs’, ‘MedByCatch’ and ‘Conservation of Marine Turtles in the Mediterranean Region’. I am grateful for their cooperation. I started taking pictures in adolescence with my father's camera (thank you Dad!) and never stopped. Since 2006, I work professionally in documentary visual storytelling, reportage and communication projects for leading institutions, organisations and media and independently. This journey has nurtured me, offered me interesting experiences and valuable moments for which I am grateful for. TPL: How has this affected the local communities and what is the impact on their daily lives? Describe the social consequences you are witnessing. Is it possible to create change, and if so, how? VM: The degradation of our marine ecosystems can only have negative impacts, limiting our ability to survive and in doing so in a sustainable way. Overfishing for example, is a key threat to food security in Europe, as we import the vast majority of our fish and seafood. Small-scale fishers struggle to make ends meet. Coming from Greece, where the traditional vessels are disappearing to large-scale fleets, we witness the loss of parts of our cultural identities as well. These are the elements that define who we are. Fundamental aspects of our lives are changing faster than we can grasp. Tourism for example is a key source of income for the Mediterranean but also a reason behind loss of habitat for species. We rely heavily on the amazing climate and our ecosystem which offer us the prospect of a great quality of life. Yet, we daily consume so much, and a lot of single-use plastics which we then don’t recycle and dispose of properly. We continue to produce plastic packaging in tons. The Med, apart from home to hundreds of millions of people, also serves as a large corridor for transport and is also a field of research for oil and gas. It’s a lot for such a relatively small place, wouldn’t you say? Change is the only constant they say. The question is: what we are changing on to. Is it a decision we can make ourselves, alone? Many of us act on a daily level and try to adapt, live more sustainably, shop locally and responsibly, recycle, and advocate for political change. In my opinion, our view of ourselves and the world is kind of obsolete. It’s a long conversation, one that involves a talk about religion as well. A hatchling makes its first steps towards the sea, Iztuzu beach, Turkey, 2021 © Vicky Markolefa © Vicky Markolefa © Vicky Markolefa Fisher onboard, La Goulette, Tunisia, December 2021. © Vicky Markolefa "I wish I could change this job. Catching fish for a living. I don't want to catch them. I love them." Fisher, Turkey, 2021 © Vicky Markolefa © Vicky Markolefa TPL: Are the local communities receptive to the efforts and do they join in the alliance to make these changes? VM: Grassroots knowledge has informed conservation practices for years. It is where that is not happening, that we see the major declines. Take the Amazon for example and the land grabs issues. Take also the Masai Mara paradigm where preventive fire is used to create zones in the savannah. In my view, the adaptation stress lies mostly with the decision makers, and academics and the scientists, the fields which are also more prone to top-down approaches, and politically driven. If only we had involved to the locals earlier and more carefully. The adaptation capacity of local communities is also limited, due to the way we approach adaptation as well, how and why we design the strategies we apply. It’s never too late o adopt conservation as a part of common daily life. TPL: What are some short and long term goals? VM: There are exhibitions and publications planned for the next months, where I hope I will have the chance to discuss more these issues. In the long run, I would like to continue working on documentary projects of such scale and orientation and publish my first photobook. Thank you very much for this opportunity! Vicky Markolefa is a visual storyteller and media expert based in between Greece and Germany, working independently and worldwide with organisations since 2016. Vicky specialises in documentary photography and film production with a focus on social and environmental topics. Her portfolio features partnerships with institutions such as the United Nations, the European Commission, and leading organisations such as WWF and Medecins San Frontieres. Vicky's projects have received recognition at international awards, festivals, and exhibitions. Vicky co-founded the productions house Mind The Bump in 2016, where she works as a documentary director and producer. She also is part of the team at BULB Photos/Balkan Collective and also founded Women Photo Greece, the first online community in Greece dedicated to promoting equal participation of female, non-binary and LGBTQIA+ individuals in photography. Views expressed in this interview are solely Vicky Markolefa's and do not represent the views of the organizations or individuals mentioned. Certain images have been produced while documenting the work of leading experts through marine conservation projects "Mediterranean Cleanup", ‘Plastic Busters MPAs’, ‘MedBycatch’ and ‘Conservation of Marine Turtles in the Mediterranean Region’ (Specially Protected Areas Regional Activity Center (SPA/RAC) of the United Nations Environment Programme/Mediterranean Action Plan (UN Environment/MAP), Agreement on the Conservation of Cetaceans of the Black Sea, Mediterranean Sea and contiguous Atlantic area (ACCOBAMS), General Fisheries Commission for the Mediterranean (GFCM), International Union for Conservation of Nature – Centre for Mediterranean Cooperation (IUCN-Med), BirdLife Europe and Central Asia, Mediterranean Association to Save the Sea Turtles (MEDASSET), World Wildlife Fund (Mediterranean Marine Initiative), MedPAN, DEKAMER, WWF Tunisia, WWF Greece, WWF Turkey, ARCHELON, National Marine Park of Zakynthos, Hellenic Center for Marine Research, Enaleia.) Vicky Markolefa's project is a powerful reminder of the fragility of our oceans and their inhabitants. Through her photography and film production, she has beautifully captured the beauty and importance of our marine environment, as well as the potential danger of failing to protect it. By engaging with her work, we gain valuable insight into the impact of human activities on the Mediterranean Sea and beyond. VIEW VICKY'S PORTFOLIO Website >>> Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

FABRIC OF NEW YORK VISUALS Elle Clarke's passion for street photography has become her healing tool for her lost artistic self, reconnecting her to her city she loves. FABRIC OF NEW YORK VISUALS May 10, 2020 INTERVIEW PHOTOGRAPHY Elle Clarke INTERVIEW Bill Lacey Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE Welcome to the world of Elle Clarke, a passionate New Yorker and street photographer who captures the city she loves with her Samsung Galaxy. From her Pentax K1000 SLR of the eighties to her modern mobile phone, Elle's photography has evolved and developed over the years. With a keen eye for beautiful compositions featuring strong shadows and patterns, Elle also has a sensitivity towards capturing people and places in need of comfort and support. Despite the physical challenges Elle faces in her day-to-day life due to Multiple Sclerosis, she continues to use photography as a healing tool and a way to connect with her beloved city. Dive into this interview with Elle Clarke and learn more about her amazing story and how she is creating art every day with her mobile device. “I'm a native NY'er with a illustrative background. I have always worked in the arts and was always the photographer in my family. I learned to use a Pentax K1000 SLR back in the 80s, I have a Nikon DX digital, but all my street photography I do has been solely with my mobile Samsung Galaxy. I struggle with Multiple Sclerosis which derails me at times from my everyday life. When I'm healthy enough to get back to it, my street photography has become a healing tool, connecting me to the city I love and all it has to offer. I will never stop...it's that important to me!” IN CONVERSATION WITH ELLE CLARKE THE PICTORIAL LIST: Elle, could you please tell us when you first became interested in photography? ELLE CLARKE: When I was about 10. I guess with my drawing, even though I can draw Photorealism, taking a photo and making that a true piece of art interested me more. I always had a craving to document everything and everybody around me. TPL: Where do you find your inspiration? EC: I literally can find it anywhere, my kitchen, the neighborhood but especially NYC!! TPL: Do you have any favourite artists or photographers you would like to share with us, and the reason for their significance? EC: I always loved the painter Georgia O'Keefe, but discovered her partner photographer Alfred Stieglitz and his way of making a photo have a painterly feel! And the Russian artist Alexander Rodchenko has greatly influenced me by his use of shadows and patterns, architecture and people. You can throw photographer Paul Strand in there, and printmaker M.C. Escher. TPL: Has your style of photographing changed since you first started? EC: YES! I have become bolder in my compositions and don't care too much of what others might think. I shoot what catches my eye and spirit at the time, without sounding too corny here! 😉 TPL: Where is your favourite place to photograph? EC: Absolutely New York City!!! Always something new even if your on the same street! Creativity is a drug I cannot live without! - Cecil B DeMille TPL: Do you think equipment is important in achieving your vision in your photography? What would you say to someone just starting out? EC: No!! Even though I have several manual and digital 35mm's I go out with my mobile Samsung because of its lightness and just blending in with the crowd. What would I say to someone starting? Just shoot everything! Be fearless, don't worry about what anyone thinks! Your eye is unique!!! TPL: What characteristics do you think you need to become a 'good' photographer? What’s your tips or advice for someone in your genre? EC: I think a good characteristic is creativity and patience! Don't get discouraged by anyone! Just shoot what makes you happy! Look at other photographers in your genre and learn, we're never too old to learn. TPL: Have you ever been involved in the artistic world before photography? EC: Yes, I always drew and painted...was an illustrator and worked in the textile industry as a painter. I was that kid at the easel in kindergarten! TPL: Are there any special projects you are currently working on that you would like to let everyone know about? EC: Nothing at the moment, but when this pandemic is over...I want to go around my neighborhood and photograph all the old mom-n-pop stores and restaurants before they're gone! TPL: If I wasn't photographing what would I be doing?... EC: Probably losing my mind...ok maybe painting! With her background in design and her eye for composition and design, Elle Clarke has found her own healing tool in street photography. Through her work, she has been able to represent the city of New York in a unique way and express herself in the process. If you would like to see more of Elle's work, you can view her unique photographs through the links provided below. VIEW ELLE'S PORTFOLIO Elle's website >>> Elle's instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.

DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. September 21, 2025 INTERVIEW PHOTOGRAPHY Jay Hsu INTERVIEW Karen Ghostlaw Pomarico Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link SHARE This interview offers an opportunity to explore the quiet power of diptychs through the work of Taiwanese photographer and educator Jay Hsu. Known for his poetic and contemplative approach to photography, Jay has developed a distinctive voice that reveals itself in the thoughtful pairing of images. His diptychs do not simply mirror or contrast, they create a dialogue. The elements within each frame take on life and meaning, working together to form a complex narrative. Beyond the surface, deeper themes of ideology, emotion, and memory emerge, enriching the story told by the images. Through careful pairing and subtle connections in shape, tone, and feeling, he creates visual relationships that reveal themselves slowly and invite thoughtful reflection. Jay’s journey into photography began as a deeply personal exploration, a way to find calm and meaning amid life’s challenges. “Photography was a medium for my own inner exploration,” he writes, “a pause, a lifesaving deep breath.” But after the birth of his daughter and a deepening of his Christian faith, his creative path shifted. “The very essence of my photography moved from self-exploration to a connection with people. This connection is one of goodness and light, even in a world that can feel broken and disappointing.” Over time, this philosophy expanded beyond image making into a broader mission rooted in education and community. As project leader of Shining Hope, a photography-based learning program for children in rural Taiwan, Jay now helps young people “see with intention and express their experiences with honesty and care.” His work as a mentor is deeply linked to his personal creative vision, and he lives, in his own words, “to publish, explore, and educate, to provide freedom and bring influence to children in rural and underprivileged communities.” At the heart of his work lies the diptych, a visual form Jay calls “the perfect medium to illustrate relationships.” What once began as a symbolic pairing of objects has become a more intuitive and graceful language. “I later discovered a new, delightful, and clever way to create by subtly linking and extending lines, shapes, and colors. This method allows for a seamless flow, mirroring the journey of life, from chaos to peace, from poverty to abundance, from darkness to light.” In this conversation, Jay Hsu shares how this way of seeing became central to his practice, how diptychs allow him to explore emotional and visual continuity, and how photography continues to shape his understanding of beauty, resilience, and hope. His story is quiet and clear, and grounded in the belief that “even when things fall apart, we can still maintain goodness, hold onto our childlike innocence, and embrace a bright and hopeful future.” “At present, my works are almost always drawn from past photographs, reconnected in new ways. Of course, each moment of shooting carries its own emotions. But when two photos, each with its own mood, are placed together, a new flow of emotions emerges — something shaped by time and continuity — becoming the emotion of the present moment.” IN CONVERSATION WITH JAY HSU TPL: Your journey into photography began as a personal exploration as a kind of pause or life-saving deep breath, as you’ve described it. Can you share more about that time in your life? What were you seeking, and what did the act of making images begin to offer you that words or other forms of expression could not? JAYE: I became a Christian in 2006. Before that, in my twenties, I was in a stage of exploring my interests, ambitions, self-growth, and self-worth. At that time, I was sentimental, quiet, melancholic, yet also full of pride. With the money I earned from part-time jobs, I bought my first digital camera, a Canon IXUS100, and took pictures everywhere—inside my room, on the streets, in the mountains, and by the sea. I think there were many complicated thoughts within me then. Besides writing, I discovered that photographs, like short poems, could carry many thoughts and emotions, even states of being that words could not fully describe. Photography became an open space, a refuge, a temporary deep breath. It might not have solved my problems, but it allowed me to store away my restlessness, melancholy, and turmoil for a while, giving my life some breathing room so I could move forward to the next stage. TPL: You’ve moved across many genres, including documentary, street, wedding, landscape, and conceptual photography. How did those varied experiences inform the way you now see, compose, and tell stories? Were there moments when those different practices overlapped or challenged each other in unexpected ways? JAY: I’m someone who enjoys being different and who also enjoys learning. When I first started photography, I studied all kinds of techniques and tried various styles. Later, when I felt stuck in terms of form, I began to explore the essence and meaning of photography itself. Now, at 48, I’m grateful for every stage of learning. None of it was wasted — they all became nourishment for my life. Technical skills and equipment are secondary. What mattered most was how learning across genres and theories taught me to observe and reflect on life, and to express it through my preferred creative approach. Sometimes documentary overlapped with wedding photography, conceptual photography intertwined with street shots, or the essence of photography merged with sequencing images, or diptychs combined with minimalist negative space. These practices reflect my love of being different and my belief that life is a continuous, exciting journey forward. TPL: At some point, your personal exploration shifted into something more focused on community, especially after becoming a father and a Christian. How did that transformation take shape, and in what ways has it deepened your sense of purpose as a photographer? JAY: I believe my Christian faith was the main reason for this transformation. Throughout life, people keep asking: Who am I? What am I pursuing? Why am I alive? Where will I go after death? These questions about the self-found their answers in my faith. Becoming a husband and father also naturally shifted my focus from myself to caring for my wife, daughter, and others. Once my heart was filled with God’s love, I naturally wanted to give and contribute, hoping to make the world a little brighter and kinder. Even if my influence is small, light is made of countless small sparks gathered together. To be one of those sparks already feels wonderful. TPL: Diptychs have become a defining element of your visual language. You’ve spoken about their ability to express relationships, not just between images but between ideas, emotions, and spiritual concepts. What makes this format so powerful for you, and how do you know when two images belong together? In short: it’s fun! I enjoy playful forms of creation. I first learned about diptychs when I took further photography courses, and I thought: Oh, photography can also be presented this way. Since I’ve always loved duplication, re-creation, and collage, this format of pairing two images to express an idea suited me perfectly. I truly admire photographers who can capture multiple visual elements and relationships in a single frame — the dialogue between objects or symbols. But I knew I didn’t always have the time to wait for a “decisive moment,” nor the instinctive “photographic eye” for it. So instead, I leaned into my own strengths and preferred ways of expression. There’s no need to be like everyone else — I can still communicate what I want in my own way. As for knowing when two images belong together, it depends on my life experience, my present state of being, and the worldview I want to convey. Often, I’ll first pick one image that moves me deeply in that moment, then close my eyes and imagine which other photo could best express the idea I want to convey. Finally, I’ll look for connections in lines, shapes, or colors from my existing archive. Sometimes inspiration strikes unexpectedly — in the shower or while driving — because I already know my own photo collection well. (That said, I often revise my diptychs. The next day, I might find another image that pairs even better, and I’ll replace it.) TPL: You mention that you moved from illustrating symbols and object relationships to linking elements like lines, shapes, and colors with transitions that feel playful and intuitive. Can you take us into that shift in your visual thinking? How did you begin seeing these connections, and how do they inform your sequencing? JAY: Simply put, I wanted my work to be more accessible — to be seen and understood by a wider audience. Academic art can often feel difficult for the general public to grasp without training in visual language or photography theory. My motivation wasn’t fame or personal gain, but rather to use my work to convey goodness and spark resonance — to let people know that even in the darkest times, they can still shine. But for that message to be heard, the work must first be seen — it must catch people’s eyes in the flood of images on social media. To create that visual pause, the work needed to stand out in a unique way. By coincidence, I encountered the works of photographer Joakim Moller, and they left me with a sense of ‘visual lingering’ (a form of persistence of vision that lingers in one’s perception). I was struck by how masterfully he could join two photographs together, creating a profound aesthetic shock for the eye while also carrying layers of meaning. That encounter inspired me to try it myself, and in doing so I discovered a genuine interest and passion, with the work also receiving considerable resonance from viewers. This formal shift didn’t change my sequencing process too much. The core concept of the work still comes first. What changed is that finding two images that link well is more challenging than presenting a single photo—but at the same time, it’s much more fun. TPL: Your work carries a strong emotional undercurrent that holds both light and melancholy. How do belief, memory, and emotional resonance shape the narratives you build within a pair of images? Do you seek out particular moods when shooting, or do they emerge during the editing process? JAY: When it comes to belief, memory, and emotional resonance, to be honest, I can’t precisely explain how they interact, connect, and build a story — after all, these things have already been internalized within my heart and soul. But I am grateful for the moments of melancholy and pain, because they refined my life and now contrast or echo with the light I experience today. It’s precisely because of those experiences that my work has depth and carries stories. At present, my works are almost always drawn from past photographs, reconnected in new ways. Of course, each moment of shooting carries its own emotions. But when two photos, each with its own mood, are placed together, a new flow of emotions emerges — something shaped by time and continuity — becoming the emotion of the present moment. Even if my influence is small, light is made of countless small sparks gathered together. To be one of those sparks already feels wonderful. TPL: You’ve described your images as a movement from chaos to peace, from darkness to light. That is both a visual and philosophical journey. How do you hold space for both beauty and brokenness in your work, and what does it mean to you to create within that tension? JAY: Acceptance. I think it’s about accepting the beautiful parts of myself, but also the broken ones. Through creating, it becomes not only a reflection on my own life but also a way of sharing my life perspective and philosophy with others — perhaps with those who are also going through brokenness, or those who are stepping into beautiful seasons of life. Pain can be overcome, and the nourishment pain gives will eventually nurture love and light. Even if the light is small, it can still drive away darkness and make the darkness tremble. TPL: Your diptychs invite viewers to slow down and observe carefully. There is a quiet clarity in your compositions, but also a sense of layers waiting to be uncovered. How do you balance visual simplicity with conceptual depth? What does it mean to you for a photo to speak beyond what is seen? JAY: Practice — continuous practice — and looking at many good photographs. Just like writing, everything begins with imitation. Then, as you add your own life experiences and philosophy, those once-imitated words or images gradually take on your own style and creativity. Balancing visual simplicity with conceptual depth is something I only came to understand after studying courses in visual language, photographic art, and the essence of photography. It’s about learning how to arrange, how to suggest meaning through metaphor. Of course, creating diptychs as collages — finding visual balance and playfulness — is not so difficult. But deciding which two photos to choose, and what meaning emerges when they are paired — that is where the real subtlety and significance lie. When I succeed in making a work that speaks beyond what is seen, it means my life has depth, and I am ready to share with others a message of beauty that is mine yet also belongs to them. TPL: Your role as project leader for SHINING HOPE marks a significant shift in your career, from personal creator to educator and mentor. What inspired you to formalize this work, and how has your approach to teaching photography evolved since your early days volunteering for Children Eye? JAY: It’s a long story, but to put it simply — the answer is calling. This sense of calling comes from my Christian faith, and it arose after I truly came to know myself and understand my self-worth. It grew alongside my daughter’s growth. The photos I took of her touched many people’s hearts, and I realized for the first time that photographs can have real impact. Later, I traveled with World Vision Taiwan to Uganda and documented children in the slums. That experience deepened my conviction that children’s education and companionship are crucial — because children are the foundation and hope of the future. So, I made a decisive choice to resign from my church job, move my family to the countryside (to be closer to rural communities), and take on the photography program that was about to be discontinued, stepping into the role of project leader. Transitioning from volunteer to leader meant my teaching became more careful and thorough. I wanted to use photography education not only to teach skills, but also to accompany children, build their confidence, cultivate good character, and help them know and take pride in their hometowns. At that time, Taiwan had very few photography education programs for children, let alone well-developed curricula. So, I referenced international teaching resources (such as Aperture), local art education plans, and children’s picture books that told stories through images. I also pursued further studies in photography and art. After many revisions, I developed the curriculum we have today. It is collaborative and interdisciplinary, designed together with schoolteachers, and integrates art, language, social studies, and science — a holistic, theme-based approach. TPL: You have said that your mission is to provide freedom and bring influence to children in rural communities through visual storytelling. What kind of transformation do you witness in students as they begin to tell their own stories with a camera? Can you share a moment or student that particularly moved you? JAY: Although it looks like we’re teaching photography, in truth it’s more like life education — and so there are countless stories. One that left a deep impression was a girl I’ll call Xiao-Fan. When she was in sixth grade, she confided to a teacher that she had suicidal thoughts. But after learning photography, she shared with her teacher that whenever she felt down, she would pick up her camera and photograph the sky. Watching the constantly changing blue sky lifted her mood. Even after our program at her school ended, she kept photographing the sky. By ninth grade, she held her first solo exhibition at Share & Cultural & Creative Café. Among her works, her favorite piece was called Soft and Fluffy, featuring clouds that looked like cotton candy. In her artist statement, she wrote: “I think everyone needs something soft and fluffy — maybe a stuffed toy, a pillow, or a cat — because soft things can heal the wounds of every person’s heart.” TPL: You have compared your creative process to the feeling of enjoying a child’s drawing, embracing playful, intuitive, and full of surprise. How do you maintain that sense of openness in your own work, especially while also teaching structure and technique to others? JAY: My ability to maintain a sense of playfulness, intuition, and surprise in photography really comes from working in education — leading rural children in photography and creating alongside them. To be precise, it’s more about recovering a childlike way of observing and creating. I’m also very grateful to my own photography teachers, who introduced me to ideas like “there are no standard answers” and “open-ended conclusions.” These ideas fit perfectly into the way I now teach children. While I try to guide them with freedom and playfulness, in truth, they are my teachers. The surprises and inspiration I get from their works are far greater than what I give them. TPL: As you continue to grow both as an artist and an educator, what are the new questions or directions that excite you? Are there creative risks you hope to take, or new communities you want to engage through your work in the years ahead? JAY: I think I want to become more of an educator than an artist. But because the photography education I do is closely tied to art, I must also keep learning and growing in photography myself. In the coming years, aside from exploring new creative methods, I hope to organize a Photography Education Exhibition in Taiwan. This would bring together teams, organizations, and artists working in photography education across the country. Through a large-scale exhibition, people passionate about photography education could learn from each other, and perhaps even create a shared general photography curriculum for Taiwanese children. All of this effort is for the future of Taiwan—to develop more complete, diverse, forward-looking, and large-scale educational approaches. I feel both excited and eager for that day to come. Jay Hsu’s photography tells stories that feel both intimate and universal. Through his quiet, relational approach and his thoughtful use of diptychs, he reveals how light, shape, and color can echo the journeys we live. Even in the most ordinary moments, there is space for beauty, meaning, and hope. His commitment to visual storytelling is matched only by his dedication to education. In turning his focus to children and communities on the margins, he has found a deeper purpose — using the camera not just as a creative tool, but as a means of nurturing identity, voice, and wonder in the next generation. Jay’s work has been recognized both in Taiwan and internationally. His photographs have appeared in group exhibitions such as the GR Taiwan IGS Joint Photography Exhibition and ONFOTO Photography Exhibitions, and have earned honors from the International Photography Awards, the International Color Awards, and competitions hosted by Photoblog.hk and Silicon Power. His early talent as a writer was also honored with literary awards from the Ministry of Education and the Hualien Literary Awards. But beyond accolades and exhibitions, what stands out most is the gentle strength of his vision — a commitment to holding onto light, even when the world feels uncertain. His story, and the work that grows from it, is a quiet call to see the goodness that endures and to pass it on. To explore more of Jay Hsu’s photography and experience the diversity of his visual storytelling, follow the links below. See more, learn more, and find your own spark of inspiration in the worlds he so thoughtfully creates. VIEW JAY'S PORTFOLIO Instagram >>> read more interviews >>> WHAT REMAINS, WHAT EMERGES Laetitia Heisler transforms risk, memory, and the body into layered analogue visions — feminist rituals of seeing that reveal what endures, and what quietly emerges beyond visibility. WHAT WE ARE, WHAT WE DO Culture lives where art and community meet, and in this space Alejandro Dávila’s photographs reveal the unseen labor and devotion that sustain creation. ANALOGICAL LIMBO Nicola Cappellari reminds us that the photograph’s power lies not in what it shows, but in what it leaves unsaid. THREADS OF MOROCCAN LIFE Through gestures of work and moments of community, Kat Puchowska reveals Morocco’s overlooked beauty. IT STARTED AS LIGHT…ENDED IN SHIVERS… Between intimacy and estrangement, Anton Bou’s photographs wander — restless fragments of light and shadow, mapping the fragile terrain where self unravels into sensation. WITH EYES THAT LISTEN AND A HEART THAT SEES For decades, Rivka Shifman Katvan has documented the unseen backstage world of Broadway, capturing authenticity where performance and humanity intersect. DIPTYCH DIALOGUES Through the beautiful language of diptychs, Taiwanese photographer Jay Hsu invites us into a world where quiet images speak of memory, resilience, and hope. UNKNOWN ABYSSINIA In Ethiopia, Sebastian Piatek found a new way of seeing — where architecture endures, but women in motion carry the narrative forward. THE PULSE OF THE STREET Moments vanish, yet Suvam Saha holds them still — the pulse of India’s streets captured in fragments of life that will never repeat. WHAT DO WE WANT? More than documentation, David Gray reveals the human pulse of resistance and asks us to see beyond the surface of unrest. CRACKED RIBS 2016 Cynthia Karalla opens up about the art of survival, the power of perspective, and why she believes each of us holds a monopoly on our own narrative. STREETS OF KOLKATA Ayanava Sil’s reveals Kolkata’s soul, capturing moments with empathy, presence and humility while offering deep insight into both city and self. PERIPHERAL PLACES A project by Catia Montagna that distills fleeting encounters and spatial poetics into triptychs - visual short stories that capture the in-between, where meaning often hides. POINTE-AU-CHIEN IS NOT DEAD Through Wayan Barre’s documentary, we are invited not only to see but to feel the lived realities of a community standing at the crossroads of environmental collapse and cultural survival. QUEER HAPPENED HERE Author Marc Zinaman sheds light on the valuable contributions that LGBTQ+ individuals have made to the cultural and social fabric of New York City. TRACES OF TIME Marked by an ongoing visual dialogue with time, memory, and impermanence, Zamin Jafarov’s long-term projects highlight the quiet power of observation and the emotional depth of simplicity. THERE MY LITTLE EYES Guillermo Franco’s book is an exploration of seeing beyond the obvious. His work invites us to embrace patience, curiosity, and the unexpected in a world that often rushes past the details. VISUAL HEALING BEYOND THE DIAGNOSIS Betty Goh’s photography exemplifies the transformative power of visual storytelling, where personal adversity becomes a canvas for resilience, illuminating the connection between art, healing, and self-reclamation. EVERYDAY BLACKNESS Parvathi Kumar’s book is a profound tribute to the resilience, and contributions of incredible Black women from all walks of life, making it a vital addition to the conversation around International Women’s Month. A VOYAGE TO DISCOVERY Fanja Hubers’ journey in photography is one of continuous exploration, balancing documentation with artistic self-reflection. MARCH FORWARD Through photography, Suzanne Phoenix creates a space for representation, recognition, and resistance — ensuring that the voices of women and gender-diverse people are seen, heard, and celebrated. FLUX: Exploring Form, Luminescence, and Motion Amy Newton-McConnel embraces unpredictability, finding structure within chaos and allowing light to guide the composition. AN ODE TO SPONTANEITY AND SERENDIPITY Meera Nerurkar captures not just what is seen but also what is felt, turning the everyday into something worth a second glance. THAT’S HOW IT IS Luisa Montagna explores the fluid nature of reality - how it shifts depending on the observer, emphasizing that subjective perception takes precedence over objective truth. FUTURE HACKNEY Don Travis and Wayne Crichlow are the photographers and community advocates behind Future Hackney, merging photographic activism and social engagement to amplify inner-city marginalized communities' voices.